Boston Symphony Orchestra Concert Programs, Season 120, 2000-2001

2000-2001

OSTON SYMPHONY ORCHESTRA Symphony Mali Centennial beasor

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Trustees of the Boston Symphony Orchestra, Inc.

Peter A. Brooke, Chairman Dr. Nicholas T. Zervas, President

Julian Cohen, Vice-Chairman Harvey Chet Krentzman, Vice-Chairman Deborah B. Davis, Vice-Chairman Vincent M. O'Reilly, Treasurer Nina L. Doggett, Vice-Chairman Ray Stata, Vice-Chairman

Harlan E. Anderson John F. Cogan, Jr. Edna S. Kalman Mrs. Robert B. Newman Diane M. Austin, William F. Connell Nan Bennett Kay, Robert P. O'Block

ex-officio Nancy J. Fitzpatrick ex-officio Peter C. Read Gabriella Beranek Charles K. Gifford George Krupp Hannah H. Schneider

Jan Brett Avram J. Goldberg R. Willis Leith, Jr. Thomas G. Sternberg Paul Buttenwieser Thelma E. Goldberg Ed Linde Stephen R. Weiner James F. Cleary Julian T. Houston Richard P. Morse

Life Trustees

Vernon R. Alden Mrs. Edith L. Dabney Mrs. George I. Kaplan Mrs. George Lee Sargent

David B. Arnold, Jr. Nelson J. Darling, Jr. George H. Kidder Richard A. Smith

J. P. Barger Archie C. Epps Mrs. August R. Meyer John Hoyt Stookey

Leo L. Beranek Mrs. John H. Fitzpatrick William J. Poorvu John L. Thorndike Abram T. Collier Dean W. Freed Irving W Rabb

Other Officers of the Corporation Thomas D. May and John Ex Rodgers, Assistant Treasurers Suzanne Page, Clerk of the Board

Board of Overseers of the Boston Symphony Orchestra, Inc.

Nan Bennett Kay, Chair

Helaine B. Allen Francis A. Doyle Steven E. Karol Millard H. Pry or, Jr.

Joel B. Alvord Goetz B. Eaton Frances Demoulas Patrick J. Purcell Marjorie Arons-Barron Jane C. Edmonds Kettenbach Carol Reich Caroline Dwight Bain William R. Elfers Douglas A. Kingsley Alan Rottenberg George W Berry George M. Elvin Robert Kleinberg Edward I. Rudman Mark G. Borden Pamela D. Everhart David I. Kosowsky Michael Ruettgers

William L. Boyan J. Richard Fennell Dr. Arthur R. Kravitz Carol Scheifele-Holmes Alan Bressler Lawrence K. Fish Mrs. William D. Roger T Servison Robin A. Brown Myrna H. Freedman Larkin, Jr. Ross E. Sherbrooke Samuel B. Bruskin A. Alan Friedberg Barbara Lee • L. Scott Singleton William Burgin Dr. Arthur Gelb Thomas H. Lee Gilda Slifka

Dr. Edmund B. Cabot Mrs. Kenneth J. Alexander M. Levine Mrs. Micho Spring Mrs. Marshall Nichols Germeshausen Christopher J. Lindop Charles A. Stakeley Carter Robert P. Gittens Edwin N. London Jacquelynne M. Earle M. Chiles Michael Halperson Diane H. Lupean Stepanian Mrs. James C. Collias John P. Hamill John A. MacLeod II Samuel Thorne Eric D. Collins Ellen T Harris Carmine Martignetti Bill Van Faasen Ranny Cooper Deborah M. Hauser Barbara E. Maze Loet A. Velmans Martha H.W. Carol Henderson Thomas McCann Paul M. Verrochi Crowninshield Anne C. Hodsdon Patricia McGovern Larry Weber Diddy Cullinane Phyllis S. Hubbard Joseph C. McNay Stephen R. Weber Joan P. Curhan F. Donald Hudson Dr. Martin C. Mihm, Jr. Robert S. Weil Robert W. Daly Roger Hunt Nathan R. Miller Robert A. Wells Tamara P. Davis Ernest Jacquet Molly Beals Millman Mrs. Joan D. Wheeler Mrs. Miguel de Lola Jaffe Robert T O'Connell Reginald H. White Braganca Mrs. Robert M. Jaffe Norio Ohga Margaret Williams-

Disque Deane Charles H. Jenkins, Jr. Louis F. Orsatti DeCelles Betsy P. Demirjian Michael Joyce May H. Pierce Robin Wilson JoAnne Walton Martin S. Kaplan Dr. Tina Young Robert Winters Dickinson Susan Beth Kaplan Poussaint Kathryn A. Wong Harry Ellis Dickson William M. Karlyn Gloria Moorly Press Richard Wurtman, M.D. Overseers Emeriti

Mrs. Weston Adams Jordan Golding Robert K. Kraft Robert E. Remis Sandra Bakalar Mark R. Goldweitz Benjamin H. Lacy Mrs. Peter van S. Rice Lynda Schubert Bodman Mrs. Haskell R. Hart D. Leavitt John Ex Rodgers William M. Bulger Gordon Laurence Lesser Mrs. Jerome Rosenfeld Mrs. Levin H. Campbell Susan D. Hall Frederick H. Angelica L. Russell Johns H. Congdon Mrs. Richard D. Hill Lovejoy, Jr. Roger A. Saunders

William H. Congleton Susan M. Hilles Mrs. Charles P. Lyman Francis P. Sears, Jr. Phyllis Curtin Glen H. Hiner C. Charles Marran Mrs. Carl Shapiro Phyllis Dohanian Marilyn Brachman Mrs. Harry L. Marks Mrs. Donald B. Sinclair Harriett Eckstein Hoffman Hanae Mori Mrs. Arthur I. Strang Edward Eskandarian H. Eugene Jones Patricia Morse Mrs. Thomas H.P Peter H.B. Leonard Kaplan Mrs. Hiroshi H. Nishino Whitney Frelinghuysen Mrs. S. Charles Kasdon John A. Perkins Mrs. Donald B. Wilson Mrs. Thomas Richard L. Kaye David R. Pokross Mrs. John J. Wilson Galligan, Jr. Mrs. Gordon F. Daphne Brooks Prout Mrs. James Garivaltis Kingsley

Business Leadership Association Board of Directors

Charles K. Gifford, Chairman Leo L. Beranek, James F. Geary, William F. Connell,

Michael J. Joyce, President and Harvey Chet Krentzman, Chairmen Emeriti

Lynda S. Bodman Lawrence K. Fish Christopher J. Lindop Patrick J. Purcell Robin A. Brown Bink Garrison Carmine Martignetti Roger T. Servison Diddy Cullinane John P. Hamill Thomas May Ray Stata

Francis A. Doyle Steven E. Karol J. Kent McHose William Van Faasen William R. Elfers Edmund Kelly Joseph McNay Paul M. Verrochi

Ex-Officio Peter A. Brooke, Nicholas T. Zervas, Nan Bennett Kay

Officers of the Boston Symphony Association of Volunteers Diane M. Austin, President Muriel Lazzarini, Executive Vice-President/ William A. Along, Executive Vice-President/ Tanglewood Administration Charles W. Jack, Treasurer Nancy Ferguson, Executive Vice-President/ Linda M. Sperandio, Secretary Fundraising Dofeen M. Reis, Nominating Committee Chairman

Maureen Barry, Symphony Shop Richard D. Dixon, Education Ann M. Philbin, Fundraising Staffing and Outreach Projects Melvin R. Blieberg, Tanglewood Michael Flippin, Resource Mary Marland Rauscher, Christina M. Bolio, Public Development Hall Services Relations Donna Riccardi, Membership

Table of Contents CELEBRATING THE SYMPHONY HALL CENTENNIAL A Brief History of the BSO 13 Symphony Hall Centennial Exhibit 17 From October 16, 1900: "Social Aspect of the Opening" 18 A Brief History of Symphony Hall 19 This week's Boston Symphony Orchestra program 23 Featured Artists 45 Future Programs 60 Symphony Hall Information 63

This week's Pre-Concert Talks are given by Helen M. Greenwald, New England Conservatory of Music (February 22, 24) and Marc Mandel, BSO Director of Program Publications (February 23).

Programs copyright ©2001 Boston Symphony Orchestra, Inc. Cover design by Sametz Blackstone Associates, Boston/Cover photograph by Peter Vanderwarker Administration Mark Volpe, Managing Director Eunice and Julian Cohen Managing Directorship, fully funded in perpetuity

Tony Beadle, Manager, Boston Pops Thomas D. May, Director of Finance and

J. Carey Bloomfield, Director of Development Business Affairs Anthony Fogg, Artistic Administrator Kim Noltemy, Director of Sales and Marketing Marion Gardner-Saxe, Director of Human Resources Caroline Smedvig, Director of Public Relations Ellen Highstein, Director of Tanglewood Music Center and Marketing Ray F. Wellbaum, Orchestra Manager ADMINISTRATIVE STAFF/ARTISTIC

Karen Leopardi, Artist Assistant/Secretary to the Music Director • Vincenzo Natale, Chauffeur/Valet • Suzanne Page, Assistant to the Managing Director/Manager of Board Administration • Alexander, Steinbeis, Artistic Administration Coordinator

ADMINISTRATIVE STAFF/ PRODUCTION Christopher W. Ruigomez, Operations Manager

Felicia A. Burrey, Chorus Manager • Keith Elder, Production Coordinator • Stephanie Kluter, Assistant to the Orchestra Manager • Timothy Tsukamoto, Orchestra Personnel Coordinator

BOSTON POPS Dennis Alves, Director of Programming, Boston Pops

Leslie Wu Foley, Assistant to the Conductor, Boston Pops • Jana Gimenez, Production Manager, Boston Pops • Julie Knippa, Assistant to the Manager, Boston Pops • Stephanie Ann McCarthy, Assistant to the Director of Programming, Boston Pops

BUSINESS OFFICE

Sarah J. Harrington, Director of Planning and Budgeting Craig R. Kaplan, Controller Leslie Bissaillon, Manager, Glass Houses, Tanglewood Roberta Kennedy, Manager, Symphony Shop

Lamees Al-Noman, Cash Accountant • Yaneris Briggs, Accounts Payable Supervisor • Michelle Green, Executive Assistant to the Director of Finance and Business Affairs • Scott Langill, Accounting Manager • Maya Levy, Budget Assistant • Pam Netherwood, Assistant Manager, Symphony Shop • John O'Callaghan, Payroll Accountant • Mary Park, Budget Analyst • Harriet Prout, Staff Accountant • Taunia Soderquist, Assistant Payroll Accountant/Accounting Clerk DEVELOPMENT Jo Frances Kaplan, Director of Foundation and Government Support Michael Newton, Director of Corporate Programs Elizabeth P. Roberts, Director of Individual Giving Tracy Wilson, Director of Tanglewood Community Relations and Development Liaison

Jill Ashton, Executive Assistant to the Director of Development • Howard L. Breslau, Senior Major Gifts Officer • Diane Cataudella, Manager of Stewardship Programs • Rebecca R. Crawford, Director of Development Communications • Sally Dale, Associate Director of Stewardship Programs • Elizabeth Drolet, Senior Major Gifts Officer • Adrienne Ericsson, Grants Coordinator • Sandy Eyre, Assistant Director, Tanglewood Development • Sarah Fitzgerald, Supervisor of Gift Processing and Donor Records • Michelle Giuliana, Administrative Assistant, Corporate Programs • Julie Hausmann, Associate Director, Boston Symphony Annual Fund • Deborah Hersey, Manager of Development Information Systems • Laura Hoag, Program Coordinator, Corporate Programs • Justin Kelly, Data Production Coordinator • Patricia Kramer, Associate Director, Corporate Programs • Katherine Leeman, Annual Fund Coordinator • Mere- dith McCarroll, Tanglewood Development Coordinator • Destiny McDonald, Major Gifts Coordinator •

Gerrit Petersen, Associate Director, Foundation and Government Support • George Saulnier, Gift Process- ing and Donor Records Coordinator • Julie Schwartz, Director, Boston Symphony Annual Fund • Phoebe Slanetz, Associate Director of Development Research • Mary E. Thomson, Program Manager, Corporate Programs • Adea Wood, Receptionist/Administrative Assistant EDUCATION AND COMMUNITY PROGRAMS/ARCHIVES Myran Parker-Brass, Director of Education and Community Programs Bridget P. Carr, Archivist-Position endowed by Caroline Dwight Bain

Amy Brogna, Coordinator of Education Programs • Walter Ross, Educational Activities Assistant '" '' ' ' ' -V ' *

EVENT SERVICES Cheryl Silvia Lopes, Director of Event Services Lesley Ann Cefalo, Special Events Manager • Sid Guidicianne, Front of House Manager • Melissa Jenkins, Assistant to the Director of Event Services • Emma-Kate Jaouen, Tanglewood Events Coordinator Kyle Ronayne, Food and Beverage Manager HUMAN RESOURCES Anne Marie Coimbra, Human Resources Manager Dorothy DeYoung, Benefits Manager INFORMATION TECHNOLOGY

Robert Bell, Director of Information Technology Andrew Cordero, Special Projects Coordinator • John Lindberg, Help Desk Administrator • Michael Pijoan, Assistant Director of Information Technology • Brian Van Sickle, Software Support Representative

PUBLIC RELATIONS Bernadette M. Horgan, Director of Media Relations

Sean J. Kerrigan, Associate Director of Media Relations • Jonathan Mack, Media Relations Associate • Amy E. Rowen, Media Relations Assistant/Assistant to the Director of Public Relations and Marketing • Kate Sonders, Staff Assistant

PUBLICATIONS

Marc Mandel, Director of Program Publications Robert Kirzinger, Publications Associate • Eleanor Hayes McGourty, Publications Coordinator/Boston Pops Program Editor

SALES, SUBSCRIPTION, AND MARKETING Gretchen Borzi, Marketing Coordinator for Print Production and Retail Promotion • Helen N.H. Brady, Director of Group Sales • David Carter, Subscription Representative • Susan Dunham, Subscription Repre- sentative • Kerry Ann Hawkins, Graphic Designer • Susan Hopkins, Graphic Designer • Faith Hunter, Group Sales Manager • Chloe Insogna, SymphonyCharge Coordinator • James Jackson, Call Center Mana- ger • Amy Kochapski, Assistant Subscription Manager • Michele Lubowsky, Subscription Representative • Mara Luzzo, Manager of Subscriptions and Telemarketing Programs • Jason Lyon, SymphonyCharge Assistant Manager • Mary MacFarlane, Assistant Call Center Manager • Kathryn Miosi, Subscription Data Entry Co- ordinator • Sarah L. Manoog, Marketing Manager • Michael Miller, SymphonyCharge Manager • Danielle Pelot, Marketing Coordinator for Advertising and Tourism Promotion Box Office Russell M. Hodsdon, Manager • Kathleen Kennedy, Assistant Manager • Box Office

Representatives Mary J. Broussard • Cary Eyges • Lawrence Fraher • Arthur Ryan SYMPHONY HALL OPERATIONS Robert L. Gleason, Director of Hall Facilities H.R. Costa, Technical Supervisor • Michael Finlan, Switchboard Supervisor • Wilmoth A. Griffiths, Supervisor of Facilities Support Services • Catherine Lawlor, Administrative Assistant • John MacMinn, Supervisor of Building Maintenance • Cleveland Morrison, Stage Manager • Shawn Wilder, Mailroom Clerk

House Crew Charles F. Cassell, Jr. • Francis Castillo • Thomas Davenport • John Demick, Stage Coordinator • Michael Frazier • Hank Green • Juan Jimenez • William P. Morrill • Mark C. Rawson Security Christopher Bartlett • Matthew Connolly, Security Supervisor • Tyrone Tyrell Cleaning Crew Desmond Boland • Clifford Collins • Angelo Flores • Rudolph Lewis • Lindel Milton, Lead Cleaner TANGLEWOOD MUSIC CENTER Patricia Brown, Associate Director • Marjorie Chebotariov, Manager of Student Services • Julie Giattina, Coordinator • Brian Wallenmeyer, Scheduler TANGLEWOOD OPERATIONS

David P. Sturma, Director of Tanglewood Facilities and BSO Liaison to the Berkshires VOLUNTEER OFFICE Patricia Krol, Director of Volunteer Services Paula Ramsdell, Project Coordinator • Emily Smith, Administrative Assistant

4 not only helps keep this convenient service BSO operating, but also provides opportunities to spend time with your Symphony friends, Chamber Music Teas meet new people, and conserve energy. In at Symphony Hall addition, many of the participating commu- Chamber Music Teas offer chamber music nities make a substantial contribution to the performed by members of the Boston Sym- BSO from the proceeds. If you would like phony Orchestra on six non-Symphony Fri- to start a service from your community, or day afternoons at 2:30 p.m. in the Cabot- would like further information about bus Cahners Room of Symphony Hall. Chamber transportation to Friday-afternoon concerts, Music Teas include tea and coffee, baked please call the Volunteer Office at (617) refreshments, and an hour-long chamber 638-9390. music performance. Doors open at 1:30 p.m. and the concert starts at 2:30 p.m. This Pre-Concert Talks week, on Friday, February 23, BSO mem- Pre-Concert Talks available free of charge bers Nurit Bar-Josef, Alexander Velinzon, to BSO ticket holders continue before all Edward Gazouleas, Kazuko Matsusaka, and BSO subscription concerts and Open Re- Joel Moerschel perform music of Martinu, hearsals this season. These begin at 7 p.m. Tan Dun, and Dvorak. prior to evening concerts, 12:15 p.m. prior to afternoon concerts, and one hour before Tours of Symphony Hall the start of morning and evening Open Re- Throughout the Symphony Hall Centennial hearsals. This week, BSO Director of Pro- Season, the BSO offers free public tours of gram Publications Marc Mandel (February Symphony Hall on the first Saturday of each 22 rehearsal; 23) and Helen M. Greenwald month at 1:30 p.m. (except March 3, when of the New England Conservatory (February tours will begin at 1 p.m.), Tuesdays at 9 22 concert; 24) discuss music of John a.m., and Wednesdays at 4:30 p.m. Tours Williams and Richard Strauss. Next week, begin at the Massachusetts Avenue entrance Harlow Robinson of Northeastern University on Tuesdays, and at the Cohen Wing en- discusses music of John Adams, Prokofiev, trance on Wednesdays and Saturdays. For and Janacek (March 1, 2, 3, 6). In the fol- further information, or to schedule group lowing weeks, Hugh Macdonald of Washing- tours, please contact the Volunteer Office at ton University, St. Louis, discusses music of (617) 638-9390. Stravinsky, Bernstein, and Brahms (March 8, 9, 10) and Harlow Robinson discusses Attention, Friday-afternoon music of Martinu, Mozart, Stravinsky, and Subscribers: Bus Service to Dvorak (March 16, 17, 20). Symphony Hall BSO Members in Concert If you're tired of fighting traffic and search- ing for a parking space when you come to BSO members Nancy Bracken, violin, Bur- Friday-afternoon BSO concerts, consider ton Fine, viola, and Joel Moerschel, cello, taking the bus from your community directly join pianist Jerome Rosen and soprano Suysan to Symphony Hall. Under the auspices of Consoli on Sunday, February 25, at 3 p.m. at the Boston Symphony Association of Volun- the Longy School of Music, 1 Follen Street, teers, the following communities sponsor Cambridge, for a program including Bach's round-trip bus service for the Friday-after- C minor violin sonata, BWV 1017, Schu- noon concerts for a nominal fee: Beverly, mann's song cycle Frauenliebe und -leben, Cape Cod, Concord, Marblehead/Swamp- and Brahms's A major piano quartet, Opus scott, Wellesley, South Shore, and Weston in 26. General admission is $20 ($10 students Massachusetts; Concord, North Hampton, and seniors). For more information call (978) and Peterborough in New Hampshire; west- 363-5704. ern New Hampshire; the Maine and New The Concord Chamber Music Society, Hampshire seacoast area; and Rhode Island. BSO violinist Wendy Putnam, director, offers Taking advantage of your area's bus service a program of woodwind quintets from conti- '' Z '-' 'K •,;.-• V- -:

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nental Europe and New England, including orchestra-level corridor nearest the Cohen music of Rossini, Nielsen, Arthur Berger, Wing. The photo collection that previously and others, performed by BSO members Fen- included Seiji Ozawa along with past BSO wick Smith, flute, Thomas Martin, clarinet, and Pops conductors, formerly mounted in Mark McEwen, oboe, Gregg Henegar, bas- that space, has been refurbished and incor- soon, and Jonathan Menkis, horn, on Sunday, porated into the new display. Photographer March 4, at 2:30 p.m. at the First Parish in Betsy Bassett took the black-and-white BSO Concord, 20 Lexington Road. Tickets are member photographs as the initial step to- $16 ($8 students, seniors, and children). For ward production of a new book of BSO mem- more information visit the CCMS website at ber profiles. The display system was de- www.concordchambermusic.org. signed by Krent/Paffett Associates in Boston BSO assistant concertmaster Nurit Bar- and fabricated by Mystic Scenic Design in Josef performs a recital of sonatas by Mozart, Dedham. Ysaye, Prokofiev, and Sarasate with pianist Frank Corliss on Sunday, March 4, at 2 p.m. Ticket Resale at the Newton Free Library, 330 Homer Please remember that subscribers unable Street in Newton Centre. Admission is free, to attend a particular concert in their though seating is limited. For more informa- BSO series call 638-9426 to thirty tion call (617) 552-7145. may (617) up Former BSO concertmaster Joseph Silver- minutes before the concert to make their tickets available for resale. This not only stein is soloist in the Brahms Violin Concerto with Max Hobart leading the Civic Symphony helps bring needed revenue to the orchestra, it also makes your seat available to Orchestra on Sunday, March 4, at 3 p.m. in someone who might otherwise be unable to attend the Jordan Hall at the New England Conserva- concert. will receive a receipt tory, part of a program also including Ber- You mailed acknowledging your tax-deductible contri- lioz's Roman Carnival Overture and Thomas bution within three of call. Oboe Lee's Symphony No. 4, War and Peace, weeks your with soprano Peggo Horstmann Hodes. Tick- ets are $25 and $20. For more information In Case of Snow. . call (617) 923-6333. To find out the status of a Boston Symphony concert and options available to you in case BSO Portraits Display of a snow emergency, BSO subscribers and As part of this season's Symphony Hall patrons may call a special Symphony Hall Centennial Celebration, a display of formal number. Just dial (617) 638-9495 at any portrait photographs of the BSO's entire cur- time for a recorded message regarding the rent membership has been mounted in the current status of a concert.

Tanglewood BOSTON THE BSO ONLINE

Boston Symphony and Boston Pops fans with access to the Internet can visit the orchestra's official home page (http://www.bso.org). The BSO web site not only provides up-to-the- minute information about all of the orchestra's activities, but also allows you to buy tickets to BSO and Pops concerts online. In addition to program listings and ticket prices, the web site offers a wide range of information on other BSO activities, biographies of BSO musicians and guest artists, current press releases, historical facts and figures, helpful telephone

numbers, and information on auditions and job openings. A highlight of the site is a virtual-

reality tour of the orchestra's home, Symphony Hall. Since the BSO web site is updated on a regular basis, we invite you to check in frequently. SEIJI OZAWA

The 2000-2001 season is Seiji Ozawa's twenty-eighth as music director of the Boston Symphony Orchestra. Since becoming the BSO's music director in 1973 he has devoted himself to the orchestra for more than a quarter-century, the longest tenure of any music director currently active with a major orchestra, and paralleled in BSO history only by the twenty-five-year tenure of the legendary Serge Koussevitzky. In recent years, numerous honors and achievements have underscored Mr. Ozawa's stand- ing on the international music scene. In December 1998, Mr. Ozawa was named a Chevalier de la Legion d'Honneur by French President Jacques Chirac, recognizing not only his work as a conductor, but also his support of French composers, his devotion to the French public, and his work at the Paris Opera. In December 1997 he was named "Musician of the Year" by Musical America, the international directory of the performing arts. In February 1998, fulfilling a longtime ambition of uniting musicians across the globe, he closed the Opening Ceremonies at the Winter Olympics in Nagano, Japan, leading the "Ode to Joy" from Beethoven's Ninth Symphony with performers including six choruses—in Japan, Australia, China, Germany, South Africa, and the United States—linked by satellite. In 1994 he became the first recipient of Japan's Inouye Sho (the "Inouye Award," named after this century's preeminent Japanese novelist) recognizing lifetime achievement in the arts. 1994 also saw the inauguration of Seiji Ozawa Hall at Tanglewood, the BSO's summer home in western Massachusetts. At Tanglewood he has also played a key role as both teacher and administrator at the Tanglewood Music Center, the BSO's summer training academy for young professional musicians from all over the world. In 1992 Mr. Ozawa co-founded the Saito Kinen Festival in Matsumoto, Japan, in memory of his teacher at Tokyo's Toho School of Music, Hideo Saito, a central figure in the cultivation of Western music and musical technique in Japan. Also in 1992 he made his debut with the Metropolitan Opera in New York. Besides his concerts throughout the year with the Boston Symphony, he conducts the Berlin Philharmonic and Vienna Phil- harmonic on a regular basis, and appears also with the New Japan Philharmonic, the London Symphony, the Orchestre National de France, La Scala in Milan, and the Vienna Staatsoper. Besides his many Boston Symphony recordings, he has recorded with the Berlin Philharmonic, the Vienna Philharmonic, the Saito Kinen Orchestra, the London Philharmonic, the Orchestre National de France, the Orchestre de Paris, the Philhar- monia of London, the San Francisco Symphony, the Chicago Symphony, and the Toronto Symphony, among others. In the fall of 2002, following that summer's Tanglewood season, he will begin a new phase in his artistic life when he becomes music director of the Vienna State Opera, where he has maintained a long association as a guest conductor leading productions in that house as well as concerts with the Vienna Philharmonic in Vienna, at Salzburg, and on tour. Throughout his tenure as music director of the Boston Symphony, Mr. Ozawa has maintained the orchestra's distinguished reputation both at home and abroad, with concerts in Symphony Hall, at Tanglewood, on tours to Europe, Japan, Hong Kong, China, and South America, and across the United States. He has also upheld the BSO's commitment to new music through the frequent commissioning of new works. In addition, he and the orchestra have recorded nearly 140 works, representing more than fifty different composers, on ten labels. Mr. Ozawa won his first Emmy award in 1976, for the BSO's PBS television series "Evening at Symphony." He received his second Emmy in September 1994, for Individual Achievement in Cultural Programming, for "Dvorak in Prague: A Celebra- tion," a gala Boston Symphony concert subsequently released by Sony Classical in both audio and video formats. Mr. Ozawa holds honorary doctor of music degrees from the University of Massachusetts, the New England Conservatory of Music, Wheaton College in Norton, Massachusetts, and Harvard University.

8 Born in 1935 in Shenyang, China, Seiji Ozawa studied music from an early age and later graduated with first prizes in composition and conducting from Tokyo's Toho School of Music. In 1959 he won first prize at the International Competition of Orchestra Con- ductors held in Besangon, France. Charles Munch, then music director of the Boston Symphony, subsequently invited him to attend the Tanglewood Music Center, where he won the Koussevitzky Prize for outstanding student conductor in 1960. While working with Herbert von Karajan in West Berlin, Mr. Ozawa came to the attention of Leonard Bernstein, who appointed him assistant conductor of the New York Philharmonic for the 1961-62 season. He made his first professional concert appearance in North America in January 1962, with the San Francisco Symphony. He was music director of the Chicago Symphony Orchestra's Ravinia Festival for five summers beginning in 1964, music director of the Toronto Symphony from 1965 to 1969, and music director of the San Francisco Symphony from 1970 to 1976, followed by a year as that orchestra's music adviser. He conducted the Boston Symphony Orchestra for the first time in 1964, at Tanglewood, and made his first Symphony Hall appearance with the orchestra in January 1968. He became an artistic director of Tanglewood in 1970 and began his tenure as music director of the BSO in 1973, following a year as music adviser. Today, some 80% of the BSO's members have been appointed by Seiji Ozawa. The Boston Symphony itself stands as eloquent testimony not only to his work in Boston, but to Mr. Ozawa's lifetime achievement in music. Mr. Ozawa's compact discs with the Boston Symphony Orchestra include, on Philips, the complete cycle of Mahler symphonies, music of Britten, Ravel, and Debussy with soprano Sylvia McNair, Richard Strauss's Elektra, Schoenberg's Gurrelieder, and Bartok's Concerto for Orchestra and complete Miraculous Mandarin. Among his EMI recordings is the Grammy-winning "American Album" with Itzhak Perlman, including music for violin and orchestra by Bernstein, Barber, and Lukas Foss. Recordings on Deutsche Grammophon include Mendelssohn's complete incidental music to A Midsummer Nights Dream, violin concertos of Bartok and Moret with Anne-Sophie Mutter, and Liszt's piano concertos with Krystian Zimerman. Other recordings include Faure's Requiem, Berlioz's Requiem, Rachmaninoff's Third Piano Concerto with Evgeny Kissin, and Tchaikovsky's opera Pique Dame, on RCA Victor Red Seal; music for piano left-hand and orchestra by Ravel, Prokofiev, and Britten with Leon Fleisher, and Strauss's Don Quixote with Yo-Yo Ma, on Sony Classical; and Beethoven's five piano concertos and Choral Fantasy with Rudolf Serkin, on Telarc. *Bonnie Bewick Edward Gazouleas David and Ingrid Kosowsky Lois and Harlan Anderson chair chair, fullyfunded in perpetuity *James Cooke Robert Barnes Theodore W. and Evelyn Burton Fine Rerenson Family chair Ronald Wilkison *Victor Romanul Michael Zaretsky Ressie Pappas chair * Catherine French Marc Jeanneret Stephanie Morris Marryott and *Mark Ludwig Franklin J. Marryott chair * Rachel Fagerburg * Kelly Barr *Kazuko Matsusaka BOSTON SYMPHONY Catherine and Paul ORCHESTRA Ruttenwieser chair Cellos 2000-2001 *Elita Kang Jules Eskin Mary R. Saltonstall chair Principal *Yu Yuan Philip R. Allen chair, endowed Seiji Ozawa Kristin and Roger Servison in perpetuity in 1 969 Music Director chair Martha Babcock Ray and Maria Stata Assistant Principal Violins Music Directorship, Second Vernon and Marion Alden chair, endowed in perpetuity fully funded in perpetuity Haldan Martinson Principal in 1977 Bernard Haitink Carl Schoenhof Family chair, Sato Knudsen Principal Guest Conductor fully funded in perpetuity Stephen and Dorothy Weber chair LaCroix Family Fund Vyacheslav Uritsky Assistant Principal Joel Moerschel fully funded in perpetuity Charlotte and Irving W. Rabb Sandra and David Rakalar chair, endowed in perpetuity chair in 1977 Luis Leguia Ronald Knudsen Robert Rradford Newman First Violins Edgar and Shirley Grossman chair, fully funded in perpetuity Malcolm Lowe chair Carol Procter Concertmaster Joseph McGauley Lillian and Nathan R. Miller Charles Munch chair, Shirley and J. Richard Fennell chair fully funded in perpetuity chair, fullyfunded in perpetuity Ronald Feldman Tamara Smirnova Ronan Lefkowitz Richard C. and Ellen E. Paine Associate Concertmaster David H. and Edith C. Howie chair, fullyfunded in perpetuity Helen Horner Mclntyre chair, chair, fullyfunded in perpetuity *Jerome Patterson endowed in perpetuity in 1976 *Sheila Fiekowsky Charles and JoAnne Dickinson Nurit Bar-Josef Donald C. and Ruth Rrooks chair Assistant Concertmaster Heath chair, fullyfunded in * Jonathan Miller Robert L. Real, and Enid L. perpetuity Rosemary and Donald Hudson and Rruce A. Real chair, *Jennie Shames chair endowed in perpetuity in 1980 *Valeria Vilker Kuchment *Owen Young Assistant Concertmaster *Tatiana Dimitriades John F. Coganj Jr., and Mary L. Cornille chair, funded Edward and Rertha C. Rose *Si-Jing Huang fully in perpetuity chair *Nicole Monahan * Andrew Pearce Bo Youp Hwang *Wendy Putnam John and Dorothy Wilson Gordon and Mary Ford *Xin Ding Kingsley chair chair, fullyfunded in perpetuity Family *Sae Shiragami Lucia Lin * Basses Forrest Foster Collier chair Alexander Velinzon Edwin Barker Ikuko Mizuno Violas Principal Carolyn and George Rowland Harold D. Hodgkinson chair, chair Steven Ansell endowed in perpetuity in 1974 Amnon Levy Principal Charles S. Dana chair, Lawrence Wolfe Dorothy Q. and David R. endowed in perpetuity in 1970 Assistant Principal Arnold, Jr., chair, fullyfunded Maria Nistazos Stata chair, in perpetuity Cathy Basrak fully funded in perpetuity * Nancy Bracken Assistant Principal Anne Stoneman chair, Joseph Hearne Muriel C. Kasdon and Marjorie fully funded in perpetuity Leith Family chair, C. Paley chair fully funded in perpetuity *Aza Raykhtsaum Ruth and Carl J. Shaptro chair, fullyfunded in perpetuity

Y&sa Dennis Roy Bass Clarinet Tuba Joseph and Jan Brett Hearne Craig Nordstrom Chester Schmitz chair Farla and Harvey Chet Margaret and William C. John Salkowski Krentzman chair, fully funded Rousseau chair, fully funded Erich and Edith Heymans chair in perpetuity in perpetuity *Robert Olson *James Orleans Bassoons Timpani *Todd Seeber Richard Svoboda Everett Firth Principal Sylvia Shippen Wells chair, Eleanor L. and Levin H. Edward A. chair, endowed endowed in perpetuity in 1974 Campbell chair, fullyfunded Taft in perpetuity in in perpetuity 1974 Percussion *John Stovall Suzanne Nelsen $ Thomas Richard Ranti Gauger Peter and Anne Brooke chair, Flutes Associate Principal fullyfunded in perpetuity Jacques Zoon Frank Epstein Principal Contrabassoon Peter Andrew Lurie chair, Walter Piston chair, endowed Gregg Henegar fully funded in perpetuity in perpetuity in 1970 Helen Rand Thayer chair William Hudgins Fenwick Smith J. Timothy Genis Myra and Robert Kraft chair, Horns Assistant Timpanist endowed in perpetuity in 1981 James Sommerville Mr. and Mrs. Edward H. Linde Elizabeth Ostling Principal chair Associate Principal Helen Sagojf Slosberg/Edna Marian Gray Lewis chair, S. Kalman chair, endowed Harp fully funded in perpetuity in perpetuity in 1974 Richard Sebring Ann Hobson Pilot Principal Piccolo Associate Principal Willona Henderson Sinclair °Geralyn Coticone Margaret Andersen Congleton chair Evelyn and C. Charles Marran chair, fully funded in perpetuity chair, endowed in perpetuity in °Daniel Katzen Voice and Chorus 1979 Elizabeth B. Storer chair $Jay Wadenpfuhl John Oliver Tanglewood Festival Chorus Oboes John P. H and Nancy S. Eustis Conductor chair, fullyfunded in perpetuity Alan and Principal Richard Mackey J. Suzanne W. Dworsky chair, fully funded Mildred B. Remis chair, Diana Osgood Tottenham in perpetuity endowed in perpetuity in 1975 chair Mark McEwen Jonathan Menkis James and Tina Collias chair Librarians Keisuke Wakao Trumpets Marshall Burlingame Assistant Principal Principal Charles Schlueter Elaine and Jerome Rosenfeld Lia and William Poorvu chair, Principal chair fullyfunded in perpetuity Roger Louis Voisin chair, William Shisler endowed in perpetuity in 1977 English Horn John Perkel Peter Chapman Robert Sheena Ford H. Cooper chair Beranek chair, fully funded Assistant Conductors Thomas Rolfs in perpetuity Federico Cortese Assistant Principal Anna E. Finnerty chair, Nina L. and Eugene B. Clarinets fully funded in perpetuity Doggett chair William R. Hudgins Ilan Volkov Principal Trombones Ann S.M. Banks chair, endowed Personnel Managers Ronald Barron in perpetuity in 1977 Principal Lynn G. Larsen Scott Andrews J. P. and Mary B. Barger chair, Bruce M. Creditor Thomas and Dola Sternberg fully funded in perpetuity chair Norman Bolter Stage Manager Thomas Martin Peter Riley Pfitzinger Associate Principal & Bass Trombone Position endowed by E-flat clarinet Angelica L. Russell Stanton W. and Elisabeth K. Douglas Yeo Davis chair, fully funded in John Moors Cabot chair, perpetuity fully funded in perpetuity * Participating in a system of rotated seating %On sabbatical leave °On leave

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iftti KS BEiMHMJJMi MBI B F i m i i A Brief History of the Boston Symphony Orchestra

Now in its 120th season, the Boston Symphony Orchestra gave its inaugural concert on October 22, 1881, and has continued to uphold the vision of its founder, the philanthro- pist, Civil War veteran, and amateur musician Henry Lee Higginson, for more than a century. Under the leadership of Seiji Ozawa, its music director since 1973, the Boston Symphony Orchestra has performed throughout the United States, as well as in Europe, Japan, Hong Kong, South America, and China, and reaches audiences numbering in the millions through its performances on radio, television, and recordings. It plays an active role in commissioning new works from today's most important composers; its summer season at Tanglewood is regarded as

one of the world's most important music festivals; it helps develop the audience of the future through BSO Youth Concerts and through a variety of outreach programs involving the en-

tire Boston community; and, during the Tanglewood season, it sponsors the Tanglewood Music Center, one of the world's most important training grounds for young composers, conductors, instrumentalists, and vocalists. The orchestra's virtuosity is Major Henry Lee Higgin- reflected in the concert and recording activities of the Boston son, founder of the Boston Symphony Chamber Players, one of the world's most distin- Symphony Orchestra guished chamber ensembles made up of a major symphony orchestra's principal players. The activities of the Boston Pops Orchestra have established an international standard for the performance of lighter kinds of music. Overall, the mission of the Boston Symphony Orchestra is to foster and maintain an organization dedicated to the making of music consonant with the highest aspirations of musical art, creating performances and providing educational and training programs at the highest level of excellence. This is accomplished with the continued support of its audiences, governmental assistance on both the federal and local levels, and through the generosity of many foundations, businesses, and individuals. Henry Lee Higginson dreamed of founding a great and permanent orchestra in his home town of Boston for many years before that vision approached reality in the spring of 1881. The following October the first Boston Symphony Orchestra concert was given under the direction of conductor Georg Henschel, who would remain as music director until 1884. For nearly twenty years Boston Symphony concerts were held in the Old Bos- ton Music Hall; Symphony Hall, one of the world's most highly regarded concert halls, was opened on October 15, 1900. The BSO's 2000-2001 season celebrates the centenni-

The first photograph, actually a collage, of the Boston Symphony Orchestra under Georg Henschel, taken 1 882

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14 al of Symphony Hall, and the rich history of music performed and introduced to the world here since it opened a century ago. Georg Henschel was succeeded by a series of German-born and -trained conductors —Wilhelm Gericke, Arthur Nikisch, Emil Paur, and Max Fiedler—culminating in the appointment of the legendary Karl Muck, who served two tenures as music director, 1906- 08 and 1912-18. Meanwhile, in July 1885, the musicians of the Boston Symphony had given their first "Promenade" concert, offering both music and refreshments, and fulfilling Major Higginson's wish to give "concerts of a lighter kind of music." These concerts, soon to be given in the springtime and re- named first "Popular" and then "Pops," fast became a tradition. In 1915 the orchestra made its first trans- continental trip, playing thirteen concerts at the Panama-Pacific Exposition in San Fran- cisco. Recording, begun with the Victor Talking Machine Company (the predeces- sor to RCA Victor) in 1917, continued with increasing frequency, as did radio broadcasts. In 1918 Henri Rabaud was engaged Rush ticket line at Symphony Hall, as conductor. He was succeeded the follow- probably in the 1930s ing year by Pierre Monteux. These appoint- ments marked the beginning of a French-oriented tradition which would be maintained, even during the Russian-born Serge Koussevitzky's time, with the employment of many French-trained musicians. The Koussevitzky era began in 1924. His extraordinary musicianship and electric personality proved so enduring that he served an unprecedented term of twenty-five years. Regular radio broadcasts of Boston Symphony concerts began during Koussevitzky's years as music director. In 1936 Koussevitzky led the orchestra's first concerts in the Berkshires; a year later he and the players took up annual summer residence at Tangle- wood. Koussevitzky passionately shared Major Higginson's dream of "a good honest school for musicians," and in 1940 that dream was realized with the founding of the Berkshire Music Center (now called the Tanglewood Music Center). In 1929 the free Esplanade concerts on the Charles River in Boston were inaugurated by Arthur Fiedler, who had been a member of the orchestra since 1915 and who in 1930 became the eighteenth conductor of the Boston Pops, a post he would hold for half a century, to be succeeded by John Williams in 1980. The Boston Pops Orchestra celebrated its hundredth birthday in 1985 under Mr. Williams's baton. Keith Lockhart began his tenure as twentieth conductor of the Boston Pops in May 1995, succeeding Mr. Williams. Charles Munch followed Kousse- vitzky as music director of the Boson Symphony Orchestra in 1949. Munch continued Koussevitzky's practice of supporting contemporary composers and introduced much music from the French repertory to this country. Dur- ing his tenure the orchestra toured abroad for the first time and its continuing series of Youth Concerts was initiated. Erich Leinsdorf began his seven-year term as music director in

1962. Leinsdorf presented numerous Symphony Hall in the early 1 940s, with the main premieres, restored many forgotten entrance still on Huntington Avenue, before the and neglected works to the repertory, intersection of Massachusetts and Huntington and, like his two predecessors, made avenues was reconstructed so the Green Line could many recordings for RCA; in addi- run underground

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Strategy and Implementation Services I ! r for eBusiness and Operations KEANE CONSULTING GROUP BOSTON CHICAGO 888.877.3080 WWW.KCG.KEANE.COM tion, many concerts were televised under his direction. Leinsdorf was also an energetic director of the Tanglewood Music Center; under his leadership a full-tuition fellowship program was established. Also during these years, in 1964, the Boston Symphony Cham- ber Players were founded. William Steinberg succeeded Leinsdorf in 1969. He conducted a number of American and world premieres, made recordings for Deutsche Grammo- phon and RCA, appeared regularly on television, led the 1971 European tour, and di- rected concerts on the east coast, in the south, and in the mid-west. Now in his twenty-eighth season as the BSO's music director, Seiji Ozawa became the thirteenth conductor to hold that post in the fall of 1973, following a year as music adviser and having been appointed an artistic director of the Tanglewood Festival in 1970. During his tenure Mr. Ozawa has continued to solidify the orchestra's reputation both at home and abroad. He has also reaffirmed the BSO's commitment to new music, through a series of centennial commissions marking the orchestra's 100th birthday, a series of works celebrating the fiftieth anniversary of the Tanglewood Music Center in 1990, and a continuing series of commissions from such composers as Henri Dutilleux, John Har- bison, Hans Werner Henze, Peter Lieberson, Bright Sheng, Toru Takemitsu, and Sir Michael Tippett. The 2000-2001 Symphony Hall Centennial Season brings the world premieres of newly commissioned works from John Corigliano and Tan Dun. Under Mr. Ozawa's direction the orchestra has also expanded its recording activities to include

Symphony Hall Centennial Exhibit

To mark the centennial of Symphony Hall, a comprehensive exhibit extending throughout the public spaces of the building has been mounted. The exhibit dis- plays hidden treasures from the BSO Archives that bring to life the rich legacy of Symphony Hall both as an historic building in the city of Boston, and as one of the world's greatest concert halls. Among the topics covered are the design, construction, and acoustics of Symphony Hall; the grand opening of Symphony Hall on October 15, 1900; guest artists who have performed with the BSO; premieres given here by the BSO; the Boston Pops; radio and television broadcasting history of the BSO and Pops; and the use of Symphony WWWtffi-S BEAUTIFUL Slg Hall as a recording studio. In addition the exceedingly Large and Refined Audience Enjoys tie Initial exhibit explores the use of Symphony Hall by Performance Under the Direction of Wilhelm Gerickc. other performing artists and by such groups as the Handel & Haydn Society and FleetCelebrity Series as well as many non-musical activities, including college commencements, political events, travelogues, trade shows, and fashion shows. The exhibit has been funded in part by the Lowell Institute. The exhibit is located on the first two levels of Symphony Hall—on the orchestra level along the Massachusetts Avenue corridor and in the Huntington Avenue corridor between the Hatch Room and the rear of the auditorium; and on the first-balcony level along the Massachusetts Avenue corridor, in the Cabot-Cahners Room, and in the west corridor (paralleling Gainsborough Street)—and in the Cohen Wing display cases across from the Symphony Shop. A detailed guide to the exhibit is available near the Massachusetts Avenue and Cohen Wing entrances to the Hall and from the ushers. Reproduced here is a drawing from the Boston Globe of October 16, 1900, picturing the "Opening of Boston's Beautiful Symphony Hall."

17 . . .

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Celebrating the Symphony Hall Centennial . . From the New York Daily Tribune of Tuesday, October 16, 1900

THE NEW SYMPHONY HALL IN BOSTON SOCIAL ASPECT OF THE OPENING Character of the Audience—People Who Were Present. [BY TELEGRAPH TO THE TRIBUNE]

Boston, Oct. 15. —If one wished to tell who were present at the opening of the new music hall this evening he would have to transcribe a large portion of Boston's soci-

ety blue book. The representatives of art, learning, business and society were out in

force. Had it been a New-York affair it would doubtless have looked more brilliant, for the people of New-York take to gay raiment more generally and more quickly

than the people of Boston. Nevertheless, it was a most brilliant audience for Boston.

A large number of dress coats is seldom seen, but the women preserved the general Jenny Wren kind of sobriety in color. During the symphony season evening gowns and clawhammer dress coats are seldom seen here, whereas they are the rule at the

Philharmonic concerts and similar entertainments in New-York. But the list of patrons

of the symphony concerts runs much deeper into the social list here than do the corre-

sponding lists in New-York. Here the symphony concerts stand not only for them-

selves in the department of artistic entertainment, they also fill the place that opera does in New-York. But Boston has learned to affect a disregard for gala dress which would sadly interfere with New-York's enjoyment of anything which brings a few

hundred people together. Boston begins hurrying out of its concert rooms ten minutes

or so before the end of the programme is reached in order to catch suburban trains and streetcars. The unattractive appearance of the old music hall was calculated to

encourage this unsocial behavior. It is among the dreams of some young social phi- losophers that the order of things may bring about changes in the attitude of Boston's

people toward life. After they have come to admire their own appearance in the cheery

surroundings, in the cheery environment which Symphony Hall offers them, it is thought that they will have less desire to hurry from each other's presence. Then they may gradually learn to don festive attire and eventually offer restaurants inducements to keep their lights burning and doors open later than 11 o'clock at night. But perhaps these young people are merely dreamers whose experiences in New-York have made

them forget the seriousness and solemnity of artistic enjoyment. . .

From the Stage . .

I consider Symphony Hall to be one of the two or three greatest acoustical concert environments in the world. The "BSO sound" is a direct result of the acoustical environment we work in every day. To a great extent the hall shapes the characteristic sound of any symphony orchestra, and a great hall encourages and supports a great orchestra. Likewise a poor acoustical environment over the long term can do

great damage to an orchestra. I am a bassist and I know that there are resonant spots on the Symphony Hall stage that are unbelievably "golden." It is very easy to produce a rich bass sound in the hall. Just playing in this hall every day will probably add ten years to my career! —Edwin Barker BSO principal double bass

18 releases on the Philips, Telarc, Sony Classical/CBS Masterworks, EMI/Angel, Hyperion, New World, and Erato labels. In 1995 Seiji Ozawa and the Boston Symphony Orchestra welcomed Bernard Haitink as Principal Guest Conductor, in which capacity Mr. Haitink conducts and records with the orchestra, and has also taught at Tanglewood. Today the Boston Symphony Orchestra, Inc., presents more than 250 concerts annual- ly. It is an ensemble that has richly fulfilled Henry Lee Higginson's vision of a great and permanent orchestra in Boston.

A Brief History of Symphony Hall

The first home of the Boston Symphony Orchestra was the old Boston Music Hall, which stood downtown where the Orpheum Theatre now stands, held about 2,400 seats, and was threatened in 1893 by the city's road-building/rapid transit project. That summer, the BSO's founder, Major Henry Lee Higginson, organized a corporation to finance a new and permanent home for the orchestra. On October 15, 1900—some seven years and $750,000 later—the new hall was opened. The inaugural gala concluded with a performance of Beethoven's Missa Solemnis under the direction of then music director Wilhelm Gericke. At Higginson's insistence, the architects—McKim, Mead & White of New York—engaged Wallace Clement Sabine, a young assistant professor of physics at Harvard, as their acoustical con- sultant, and Symphony Hall became the first auditorium designed in accordance with scientifically-derived acoustical principles.

It is now ranked as one of the three best concert halls in the world, along with Amsterdam's Concertgebouw and Vienna's

Musikverein. Bruno Walter called it "the most noble of Ameri- BSO conductor can concert halls," and Herbert von Karajan, comparing it to the Wilhelm Gericke, Musikverein, noted that "for much music, it is even better. ..be- who led the Sym- cause of the slightly lower reverberation time." phony Hall inau- Symphony Hall is 61 feet high, 75 feet wide, and 125 feet long gural concert from the lower back wall to the front of the stage. The walls of the stage slope inward to help focus the sound. The side balconies are shallow so as not to trap any of the sound, and though the rear balconies are deeper, sound is properly reflected from the back walls. The recesses of the coffered ceiling help distribute the sound throughout the hall, as do the statue-filled niches along the three sides. The auditorium itself is centered within the building, with corridors and offices insulating it from noise outside. The leather seats are the ones installed for the hall's opening in 1900. With the exception of the wood floors, the hall is built of brick, steel, and plaster, with only a moderate amount of decoration, the original, more ornate plans for the building's exterior having been much simplified as a cost-reducing measure. But as architecture critic Robert Campbell has observed, upon penetrating the "outer carton" one discovers "the gift within—the lovely ornamented interior, with its delicate play of grays, its statues, its hint of giltwork, and, at concert time, its sculptural glitter of instruments on stage." Symphony Hall was designed so that Architects rendering Hall the rows of seats could be replaced by of Symphony tables for Pops concerts. For BSO concerts, the hall seats 2,625. For Pops concerts, the capacity is 2,371, including 241 small tables on the main floor. To accommodate this flexible system—an innovation in 1900—an elevator, still in use, was built into the Symphony Hall floor. Once a year the five Symphony Hall chandeliers are lowered to

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20 the floor and all 394 lightbulbs are changed. The sixteen replicas of Greek and Roman statues—ten of mythical subjects, six of actual historical figures—are related to music, art, and literature. The statues were donated by a committee of 200 Symphony-goers and cast by P.P. Caproni and Brother, Boston, makers of plaster reproductions for public buildings and art schools. They were not ready for the opening concert, but appeared one by one during the first two seasons. The Symphony Hall organ, an Aeolian-Skinner designed by G. Donald Harrison and installed in 1949, is considered one of the finest concert hall organs in the world. The console was autographed by Albert Schweitzer, who expressed his best wishes for the organ's tone. There are more than 4,800 pipes, ranging in size from 32 feet to less than six inches and located behind the false organ pipe facade visible to the audience. The organ was commissioned to honor two milestones in 1950: the fiftieth anniversary of the hall's opening, and the 200th anniversary of the death of Johann Sebastian Bach. Two radio booths used for the taping and broadcasting of concerts overlook the stage at audience-left. For recording sessions, equipment is installed in an area of the base- ment. The hall was completely air-conditioned during the summer of 1973, and in 1975 a six-passenger elevator was installed in the Massachusetts ASriCmOBllE. ana Avenue stairwell. POWEE BOAJ SHOW. Symphony Hall has been the scene of more than 250 world premieres, including major works by Samuel Barber, Bela Bartok, Aaron Copland, Henri Dutilleux, George Gershwin, Hans Werner Henze, Walter Piston, Sergei Pro- kofiev, Roger Sessions, Igor Stravinsky, Michael Tippett, Judith Weir, John Williams, and Ellen Taaffe Zwilich. For

many years the biggest civic building in Boston, it has also been used for many purposes other than concerts, among them the First Annual Automobile Show of the Boston Auto- mobile Dealers' Association (1903), the Boston premiere of Cecil B. De Mille's film version of Carmen starring Gerald- ine Farrar (1915), the Boston Shoe Style Show (1919), a debate on American participation in the League of Nations From 1906 (1919), a lecture/demonstration by Harry Houdini debunk- ing spiritualism (1925), a spelling bee sponsored by the Boston Herald (1935), Communist Party meetings (1938-40; 1945), Jordan Marsh-sponsored fashion shows "dedicated to the working woman" (1940s), and all the inaugura- tions of former longtime Boston mayor James Michael Curley. A couple of interesting points for observant concertgoers: The plaques on the prosce- nium arch were meant to be inscribed with the names of great composers, but the hall's original directors were able to agree unanimously only on Beethoven, so his remains the only name above the stage. The ornamental initials "BMH" in the staircase railings on the Huntington Avenue side (originally the main entrance) reflect the original idea to name the building Boston Music Hall, but the old Boston Music Hall, where the BSO had performed since its founding in 1881, was not demolished as planned, and a deci- sion on a substitute name was not reached until Symphony Hall's opening.

As the Boston Symphony Orchestra marks the centennial of its home, it is renewing Symphony Hall's role as a crucible for new music activity, as a civic resource, and as a public gathering place. The programming and celebratory events include world premieres of works commissioned by the BSO, the unveiling of a new master plan that will strengthen Symphony Hall's public presence, and the launching of an initiative that will ultimately extend the sights and sounds of Symphony Hall through the Internet. The Symphony Hall Centennial Season brings not only a commemoration, but a second inauguration. Symphony Hall was built for the purpose of expanding the presence of orchestral music here and now—a mission the BSO continues to carry forward into today's world and the world of tomorrow.

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H68BL BOSTON SYMPHONY ORCHESTRA

Seiji Ozawa, Music Director Bernard Haitink, Principal Guest Conductor One Hundred and Twentieth Season, 2000-2001 SYMPHONY HALL CENTENNIAL SEASON

Thursday, February 22, at 8 Friday, February 23, at 8 Saturday, February 24, at 8 SPONSORED BY DELOITTE & TOUCHE

SEIJI OZAWA conducting

WILLIAMS Concerto for Cello and Orchestra Theme and Cadenza — Blues — Scherzo — Romance YO-YO MA

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STRAUSS Don Quixote, Fantastic Variations on a theme of knightly character, Opus 35

Introduction — Theme and variations — Finale

YO-YO MA, cello STEVEN ANSELL, viola

Please note that Strauss's Don Quixote replaces the originally scheduled world premiere of Tan Dun's The Map—A multi-media Concerto for Cello and Orches- tra, which has been postponed to a future season.

These concerts will end about 9:50.

RCA, Deutsche Grammophon, Philips, Telarc, Sony Classical/CBS Masterworks, Angel/EMI, London /Decca, Erato, Hyperion, and New World records Baldwin piano IN CONSIDERATION OF THE PERFORMERS AND THOSE AROUND YOU, CELLULAR PHONES, PAGERS, AND WATCH ALARMS SHOULD BE SWITCHED OFF DURING THE CONCERT.

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" and "Sony Classical" Reg. U.S. Pat. 800 -ASK -TOWER iS-TO-BOOKS & Tm. Off. Marca Registrada./ m • www.tovv'errecords.com • John Williams Concerto for Cello and Orchestra

John Williams was born in New York on February 8, 1932, and lives in Los Angeles. The Concerto for Cello and Orchestra was commissioned by the Boston Sym- phony Orchestra for the opening concert of Seiji Ozawa

Hall at Tanglewood, which took place on July 7, 1994. Williams wrote the piece for the BSO and cellist Yo-Yo Ma, who was soloist in the premiere, and to whom the

score is dedicated. The composer himself conducted the first performance, the BSO s only performance of the piece until now. As one who constantly rethinks his music, Williams characteristically made revisions to the score—particularly to the finale, where he adjusted the cello line to produce a more "cantilena, " or singing,

quality—-for a performance given by Yo- Yo Ma on Octo-

ber 1, 1999, with the National Symphony Orchestra under Leonard Slatkin. In addition to the solo cello, the score calls for two flutes and piccolo, two oboes and English horn, two clarinets and bass clarinet, two bassoons, contrabassoon (doubling third bassoon), four horns, three trumpets, two trombones, bass trombone, tuba, percussion (glockenspiel, vibraphone, marimba, xylophone, cymbals, tuned drums, bass drum, triangle, mark tree),

timpani, harp, piano and celesta, and strings. The piece is thirty-one minutes long.

John Williams was born in New York but has lived much of his life in California, where his family moved in 1948. From piano lessons as a child and a stint in the Air Force in the early 1950s, where he conducted and arranged for bands, he went on to the Juilliard School to study piano with Rosina Lhevinne. During this time he also performed in jazz clubs and as a studio musician; already the eclectic range of his career was taking shape. After moving back to California, where he studied composition privately with Mario Castelnuovo-Tedesco, he became involved with many facets of making music for Hollywood—as a studio pianist, conductor, arranger, and composer.

John Williams's fame as a composer of movie scores grew through the 1960s and '70s, with soundtracks for such movies as Jane Eyre, The Poseidon Adventure, and Jaws. The latter was one of the first of a series of scores that Williams wrote for the films of Steven

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i i 26 Spielberg; further collaborations between the director and Williams include Close En- counters of the Third Kind, the Indiana Jones movies, E.T., Schindlers List, Saving Pri- vate Ryan, and, coming this summer, A.I. (Artificial Intelligence). He has also written music for George Lucas's Star Wars films; Oliver Stone's Nixon; Home Alone and Home Alone 2; Roland Emmerich's The Patriot, and such projects as the Los Angeles Olym- pics and NBC News. Williams's efforts have made him the most celebrated film composer of our time, with five Oscars, thirty-nine Oscar nominations, seventeen Grammy awards, and numerous other honors.

In addition to these accomplishments, John Williams—as BSO audiences hardly need be told—succeeded Arthur Fiedler as Conductor of the Boston Pops in 1980. Williams continued and expanded upon Fiedler's legacy with I the Pops, making many recordings and touring with the orchestra as well as leading performances at Symphony Hall and | ^ Hp W , | /M, ML |V Tanglewood. Although he left the post in 1993 to devote more time to writing music, the ties he formed with the Pops and BSO remain strong. He is currently Laureate Con- ductor of the Boston Pops an( an artist-in-residence I A* ^ ^ gpF at Tanglewood. In recent 1 V^MP* years he recorded por- John Williams and Yo-Yo Ma in rehearsal for the July 1994 tions of the Schindler's premiere of the Cello Concerto at Seiji Ozawa Hall List soundtrack with Itz- hak Perlman and the Pops, and the soundtrack for Saving Private Ryan with the Boston Symphony. Recent concert works given their first performances by the BSO include TreeSong for violin and orchestra, which had its world premiere last summer at Tanglewood with Gil Shaham and the Boston Symphony under the composer's direction; and the orchestra pieceybr

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28 Seiji! , written for Seiji Ozawa's twenty-fifth anniversary as the BSO's music director and premiered here in April 1999 with Ozawa conducting.

Collaboration—as a jazz pianist, with orchestras as a conductor, and with film directors as a film composer—is a principal theme in John Williams's musical career. As a composer of music for the concert hall, he has often found inspiration in writing for a particular ensemble or performer. When commissioned by the BSO to write a piece for the opening of Seiji Ozawa Hall in 1994, Williams responded by writing a concerto for another performer with strong connections to the BSO and Tanglewood, cellist Yo-Yo Ma. Williams first conducted Yo-Yo Ma as soloist with the Boston Pops in 1985, and had developed a great respect for the cellist's musicianship and personality. The four- movement Concerto for Cello and Orchestra, a tribute to these musical relationships, is being performed at Symphony Hall for the first time. John Williams's original program note is reprinted below. —Robert Kirzinger

In performance, the effusion of Yo-Yo Ma's warm and vibrant personality is so con- joined with his musicianship that a uniquely powerful communication is created for the listener. From the moment I first heard him play I aspired to write something that might express the exuberance, virtuosity, and especially the lyrical expression that are the essence of this remarkable man. The impetus, or if you like, inspiration, for this concerto has clearly been Yo-Yo Ma himself.

The piece is in four movements played without a pause, and I suppose that since it is about "feelings," or the attempt to be in touch with these elusive things, that it must be described as romantic in nature if not always in style.

The first movement I've simply called "Theme and Cadenza." Here I've tried to write music that might develop the ebullience that the cello can express so well. The principal theme constantly reaches upward as it climbs, jumps, and leaps from its opening low

E set against a modal E minor (Elgar's key). It then provides the framework for passage- work and forms the basis for an extended cadenza. The orchestra provides a warm "hum- ming" accompaniment and has a moment or two of its own in which to exult.

A kind of blues monologue follows wherein the cello is set more alone and apart from the orchestra by a percussion group which sends harmonies reminiscent of the jazz era wafting across our memory. The cello then takes us spinning into a scherzo ...all speed, virtuosity, and daredevil play. The fun is punctuated by "fermatV where the orchestra calls periodic halts to the proceedings, only to have the cello repeatedly burst free to continue the chase.

The finale (Romance) closes the concerto. It seemed appropriate to me that the most

lyrical movement should come last because it could present the cello in its most natur-

al and wondrous role. . .that of singer of song. Throughout its enormous range this mira- cle of imagination and the carpenter's art has the capacity to perform expressively in the vocal style like no other instrument we've been blessed with.

I only hope that my efforts are worthy of this great soloist and our magnificent Boston

Symphony Orchestra. I feel privileged to be able to present this piece on the momen- tous occasion of the opening and dedication of Ozawa Hall. —John Williams

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30 Richard Strauss Don Quixote, Fantastic Variations on a theme of knightly character, Opus 35

Richard Georg Strauss was born in Munich on June 11, 1864, and died in Garmisch-Partenkirchen, Bavaria, on September 8, 1949. He composed Don Quixote in 1897, completing it in December of that year. The score is dedicated to Joseph Dupont. It was first performed on March 8, 1898, from manuscript, by the Giirzenische Stadtische Orchester of Cologne under Franz Wullner. Theodore Thomas led the Chicago Symphony in the

American premiere on January 7, 1899. Boston Sym- phony audiences first heard Don Quixote on February 12 and 13, 1904; Wilhelm Gericke conducted, with BSO principals Rudolf Krasselt, cello, and Max Zach, viola. The composer himself led a special performance on April 1 9 that same year with the same soloists. The cello soloists in Boston Symphony performances have also included Heinrich Warnke (with Max Fiedler and Karl Muck conducting); Jean Bedetti (with Pierre Monteux, Serge Koussevitzky, and Richard Burgin); Gregor Piatigorsky (with Koussevitzky, Burgin, and Charles Munch); Samuel Mayes (with Burgin, Monteux, Erich Leinsdorf and William Steinberg); Jules Eskin (with Jorge Mester, Steinberg, Seiji Ozawa, and Klaus Tennstedt); Yo-Yo Ma (with Ozawa, first at Tanglewood in August 1984 with violist Burton Fine, and also including the BSOs most recent Tanglewood performance on August 7, 1994, with violist Rebecca Young, though Ma played a more recent Tanglewood performance on August 1, 1999, with Ozawa, violist Yuri Bashmet, the TMC Orchestra, and the Gustav Mahler Jugendorchester as part of that summers Leonard Bernstein Memorial Concert); Janos Starker (with Erich Leinsdorf and violist Burton Fine in January 1992); and Mstis- lav Rostropovich (with Ozawa and violist Burton Fine, as part of Rostropovichs sixtieth- birthday concerts in February and March 1987; then as soloist in the Finale by itself, with Ozawa and the BSO in the orchestras gala August 1988 Tanglewood concert celebrating Leonard Bernstein s seventieth birthday; and as soloist again in the entire work in the orchestras most recent subscription performances, with Ozawa and violist Steven Ansell, in April 1997, marking the cellists seventieth birthday). Besides those mentioned above, the violists in BSO performances have also included Emil Ferir, Georges Fourel, Jean Lefranc, and Joseph de Pasquale. The score calls for two flutes and piccolo, two oboes and English horn, two clarinets and bass clarinet, three bassoons and contrabassoon, six horns, three trumpets, three trombones, tenor tuba, bass tuba, timpani, snare drum, bass drum, cymbals, triangle, tambourine, wind machine, harp, and a large com- ponent of strings specified by the composer as sixteen first violins, sixteen second violins, twelve violas, ten cellos, and eight double basses.

Don Quixote came during a short but rich period of Strauss's life when he was serving as first conductor in his native Munich. He had just completed Also sprach Zara- thustra and turned with enthusiasm to the much smaller medium of the song and the a cappella chorus. Capping his output during this period, shortly before he left Munich to be Weingartner's successor at the Royal Opera of Berlin, was a new tone poem based on the character of Cervantes' immortal knight and his equally memorable squire.

Actually Strauss himself avoided calling this work a "symphonic poem," but referred rather to its strictly maintained structure as a set of variations with the whimsical title "Fantastic variations on a theme of knightly character." This description prepares us for the theme-and-variations organization of the score while at the same time warning us that Don Quixote is not to be a "classical" variation set such as, say, Brahms's Vari-

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32 ations on a Theme by Haydn. In that glorious work, each variation retains quite strictly the shape of the original theme—its phrase structure and harmonic outlines as well as some sense of the melodic structure—while the composer finds ways of introducing new treatments of its fundamental musical ideas. In Don Quixote, on the other hand, the word "fantastic" in the subtitle implies what we might call "character variations" as opposed to "formal variations." That is to say, in each variation, Strauss uses any or all of the basic thematic ideas in a more or less free composition, varying each according to the expressive needs of the given movement. The themes may change character through changes of orchestration, melodic shape, or harmony according to the mood that is to be conveyed in each case. But each variation need not reiterate the overall shape presented at the original statement of the theme. This treatment of his material, which Strauss employs in his more overtly "symphonic" tone poems as well, is derived from the Wagnerian Leitmotiv system in both aesthetic and technique. He often com- bines the various themes contrapuntally into passages of lavish intricacy; Don Quixote includes some of Strauss's most complex writing, and the score was no doubt the de- spair of the composer's father.*

Strauss chose to highlight two soloists from the orchestra—cello and viola—to char- acterize the lanky visionary knight and his plump, down-to-earth companion, but the relationship betwen instruments and characters is not a simple one. The solo cello cer- tainly stands for Don Quixote, although a solo violin frequently functions as a kind of co-principal; the solo viola represents Sancho Panza, but shares that responsibility with the tenor tuba and bass clarinet. Thus, Don Quixote is not really a cello concerto (or, for that matter, a double concerto for cello and viola). When Strauss wrote it, he cer- tainly intended the cello part to be played by the orchestra's principal cellist seated in his normal place in the orchestra.t But the cello part in particular is so difficult and so spectacular that over the years it has served as a vehicle for virtuoso cellists who perform it as if it were the Dvorak concerto, with the soloist seated in the center, separated from the rest of the ensemble. Although that was not Strauss's original intention, he himself conducted Don Quixote many times in that arrangement (in which the soloist does not play during the orchestral tutti passages), so it must be accepted as having his ap- proval. But the elaborate subdivision of the cello section, including the soloist as part of the group, is a strong argument in favor of the original plan.

Introduction: Mdssiges Zeitmass (Moderato). The score opens with a musical picture of a certain elderly gentleman of La Mancha engrossed in the reading of his enormous library of romances, tales of knightly derring-do in the service of beautiful, pure, and helpless ladies. We hear in rapid succession three thematic ideas that will, in one form or another, depict this gentleman's further adventures: at the outset flutes and oboes introduce a phrase in D major that Strauss marks "ritterlich und galant" ("in a knightly and gallant manner"); this is followed by a figure climbing upward in the strings and then descending with courtly grace; then a rapid little arpeggio on the clarinet leads to

* Franz Strauss, one of the finest horn players of the late nineteenth century, was nonetheless a musical reactionary. He often had to play for Wagner, whose music he hated and with whom he had violent arguments. (When the word came, during an orchestral rehearsal in 1883, that Wag- ner had died in Venice, Franz Strauss was the only member of the orchestra who flatly refused to stand in a minute of silent homage to the departed composer.) He gave his son Richard a firm classical grounding in musical principles, something that Richard deeply appreciated, although

he almost never paid attention to his father's basic advice when it came to composing: "Keep it simple!" tThis is evident from a glance at the full score, where Strauss has carefully and considerately indicated what the second cellist at the first desk is to do whenever the soloist is playing: in some passages to remain silent, in others to play with the musicians at the second desk, in still others

to play a solo part of his own. None of these instructions would be necessary if it were assumed that the solo cellist was essentially a player outside the body of the orchestra.

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34 a slightly bizarre cadential theme. Though the fact of the major mode suggests our hero

is still in his right mind, the little harmonic side-slips so characteristic of Strauss hint that his hold on reality is perhaps tenuous at best. The orchestral cellos sing a more lyrical version of the first theme before the solo oboe introduces us to the feminine ideal of our knight-to-be. He thinks of his Dulcinea, he imagines himself springing to her defense (both themes in counterpoint), and his imagination begins to carry him progres- sively farther and farther away from the world of reality. Finally something snaps; triple- forte dissonant chords in the full orchestra indicate that he has gone mad. At this moment Strauss brings in the solo cello to present the actual theme.

Theme: Mdssig (Moderate?), the first part of which is labeled "The Knight of the Rueful Countenance." Our knight appears in D minor with solo cello and solo viola beginning their frequent partnership by reintroducing, now in the minor mode, the themes first heard at the outset. This is followed by a new section, a countersubject, labeled "Sancho Panza." Bass clarinet and tenor tuba first introduce a little self-satis- fied figure before the chattering solo viola takes off with a nearly endless string of com- mentary. And since most of what Sancho says consists of solemn commonplaces, the viola makes a series of statements each more vacuous musically than the last.

Variation I: Gemdchlich (Comodo). Based on chapter eight of Cervantes' Book I, this is the famous story of the windmills. Knight and squire set forth (their themes in solo cello and bass clarinet respectively), and Don Quixote thinks now and then of Dulcinea, until he is brought to a halt by the sight of "giants," which, of course, Sancho recognizes as windmills. The huge vanes move slowly and steadily around, imperturbable. The Don races at them headlong and is tumbled to the ground. The cellist presents a fragment—in shreds!—of his chivalric theme, followed by a lamentation addressed to his fair lady before the cadence figure leads us straight into

Variation II: Kriegerisch (Warlike). In chapter eighteen of the First Book, Don Quix- ote sees two clouds of dust in the distance and claims they are rival armies about to do battle. He promptly decides to offer his services to the weaker side and declares that he will attack the host of the great Emperor Ali- fanfaron. In vain does Sancho point out that he sees nothing but a flock of sheep. We can hear the sheep bleating in one of the most extraordinary of Richard Strauss and his father, Franz examples musical onomatopoeia ever composed, and the pipes of the shep- herds follow close behind. But Don Quixote, in his most heroic and warlike D major, attacks and routs the foe. (In the book, Cervantes has the hapless Don attacked in his turn by the angry shepherd, who throws rocks at him and knocks out his teeth, but Strauss decided, for musical reasons, to let Don Quixote have at least one successful adventure.)

Variation HI: Mdssiges Zeitmass (Moderato). This variation is referred to as the "Dia-

logues of Knight and Squire"; it brings together in musical guise the many endless de- bates between the Don and Sancho. The former expounds his visions, which the latter, no matter how hard he tries, is unable to appreciate fully. In fact he gets so carried away in his chattering attempts to talk reason into his master that the Don finally hushes

him with a violent gesture. Then in a radiant pendant to their conversation (Vie I lang-

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36 samer—Much slower), the knight tells of his visions and dreams. This passage, in a rich F-sharp major, is filled with all the warmth and tender lyricism of Strauss at his best. The passion is virtually Wagnerian. As he finishes his peroration, Sancho (bass clarinet) begins to insert his usual objections, but the Don turns on him furiously (violins) and the discussion is ended, Don Quixote rushing off into

Variation IV: Etwas breiter {Somewhat broader). In the last chapter of part I of the book, Don Quixote observes a procession of penitents carrying a sacred image of the Madonna in a petition for rain. He attacks the group with the intention of saving what he sees as a kidnapped maiden. Bassoons and brass sing out a liturgical theme as the

procession comes into view. Don Quixote's increasing interest is indicated in a little figure in the clarinets and oboes before he rushes into battle on his steed Rocinante. The combat is brief and inglorious. Within three measures he is sprawled on the ground (a sustained low D in the strings depicts him lying motionless while the procession draws on). Sancho fears at first that his master has died and begins to lament, but the Don rises with difficulty (solo cello). Sancho chortles with glee (bass clarinet and tenor tuba), then promptly goes to sleep. This allows Strauss to back up in the story for

Variation V: Sehr langsam (Very slowly). "The Knight's Vigil" comes from the third chapter of Book I and takes place before Sancho himself is on the scene. In the novel, the story is filled with ludicrous incidents as Don Quixote places his armor in the water-

ing trough of an inn, there to watch over it throughout the hours of darkness until he should be dubbed a knight at dawn (he uses the watering trough in the courtyard because the inn—a "castle" to his bemused wits—has no chapel). After he has started fights with two sets of muleteers, who have moved his armor out of the trough in order to water their animals, the innkeeper persuades him that he has watched over his armor long enough according to the rules of knighthood. Strauss chooses to omit any attempt at storytelling here; instead this delicate variation deals rather with the knight's state

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38 of mind. A few fragments of one of his themes (on the solo cello) intertwines with that of his beloved Dulcinea. This in turn leads us on to

Variation VI: Schnell (Fast). In the tenth chapter of Book II of the novel, Don Quix- ote orders Sancho to find his Dulcinea for him and try to persuade her to receive the homage of the knight. By this time Sancho is beginning to understand his master's personality more fully. Since he has no idea what Dulcinea looks like or where she lives (and fears that he may be attacked and beaten if he should try to discover her in earnest), he points out to the Don three girls riding on donkeys and insists that they are the Lady

Dulcinea and two attendants. The fact that the Don cannot quite see it Sancho's way is easily explained—they are under an enchantment (just as the Don had insisted the giants were, when they suddenly changed into windmills). Strauss's treatment of this is a masterpiece of musical humor. The jaunty tune in the oboes conjures up the hearty country wench who reeks of garlic. The Don attempts to address her in his most courtly manner. Even Sancho plays up to the game (solo viola), attempting to persuade her that she is the fair and pure Dulcinea. The girls ride away as fast as they can, leaving Don Quixote in utter confusion behind them.

Variation VII: Ein wenig ruhiger als vorher (A little calmer than the preceding). Here

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Strauss provides us with a virtuoso exercise in orchestration which is almost a parody of Wagner's "Ride of the Valkyries." The narrative elements are totally omitted from this variation for the sake of the one musical image. In chapter forty-one of Book II, Don Quixote and Sancho allow themselves to be blindfolded and put on a wooden horse which will, they are told, fly through the air to a lady in great distress. Once they are mounted, the courtiers operate large bellows to give them the impression of the wind whistling past them, though the horse never leaves the ground. The complicated back- ground of the story cannot be told in a symphonic poem, but the "flight" of the horse makes for a perfect musical description. Fanfares on the horns, soaring figures in the strings, chromatic flutter-tonguing in the flutes, rhythmic ostinatos, even the actual presence of a wind machine in the orchestra ("preferably out of sight," the composer noted)—all these things suggest the breathtaking sky ride of Wotan's daughters in the last act of Die Walkiire, but with one important difference: Don Quixote's horse never leaves the ground, as indicated by the unchanging, earthbound, pedal-point D in the bass instruments of the orchestra!

Variation VIII: Gemdchlich (Comodo). This variation is a journey by boat and is filled with the flowing water music that again suggests almost a Wagner parody—the opening scene of Rheingold? In chapter twenty-nine of Book II, Don Quixote finds a boat at a stream and insists that he is meant to embark on a journey—without oars to find adventure downstream. In fact, the boat is crushed by some great mill wheels, and the occupants only manage to be saved by some helpful millers. The Don's themes are converted here into a gently rolling 6/8 time that lulls its way along. But as they near the mill wheels, things begin to happen faster and faster. The boat capsizes, and the two passengers are pulled to shore, where they stand dripping wet. The final cadence figure of the variation is here turned into a prayer of thanks for their rescue.

Variation IX: Schnell and stilrmisch (Fast and stormy). Strauss backs up to the eighth

chapter of Book I for this brief variation. After his misadventure with the windmill, Don Quixote encounters two Benedictine monks mounted on mules. He takes them (from their black robes) to be magicians and easily puts them to rout. After a vigorous statement of the Don's themes, there is a lengthy mock-religious dialogue for the two monks (bassoons) before the Don's theme drives them away.

Variation X: Viel breiter (Much broader). The last variation takes the tale from the sixty-fourth chapter of Book II. A gentleman from Don Quixote's own village, Samson Carasco, who is concerned about the old man's condition, shows up as the Knight of the White Moon, defeats the Don in battle, and exacts a promise that he will refrain from knight-errantry for twelve months. The battle is an uneven one (strings against all

the brass and woodwinds), but it has its intended effect, and in a long transition, Don Quixote makes his journey home. The pedal point in the bass and the drumbeats that mark his homeward way are effective and moving, building to the climactic dissonant chord that had marked the onset of his insanity in the Introduction. Now the clouds begin to clear away. He thinks briefly of becoming a shepherd, a vision in which Sancho has a part to play, too. A radiant A major chord—the dominant of the home key of D leads directly to the

Finale: Sehr ruhig (Very calm). Here a warm new version of Don Quixote's basic theme (solo cello), once again clear in his mind, leads gradually to the onset of death pangs. The cello recalls all of the principal ideas associated with the Don before the actual moment of death, after which the orchestra can add only its quiet requiescat.

—Steven Ledbetter

Steven Ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998.

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A website with the latest information on all facets of John Williams's music, including notes on his pieces for the concert hall, can be found at www.johnwilliams.org. In addition to recordings of his film scores, some of John Williams's concert music has been made available on compact disc. This includes the bassoon concerto The Five Sacred Trees, recorded by the original soloist, Judith LeClair of the New York Philharmonic, with the London Symphony Orchestra under the composer's direction (Sony Classical); as well as his Flute Concerto, with soloist Peter Lloyd, and Violin Concerto, with soloist Mark Peskanov, with Leonard Slatkin conducting the London Symphony Orchestra (Varese-Saraband). John Williams and Yo-Yo Ma plan to record the Concerto for Cello and Orchestra in the next few months for future release on compact disc. Gil Shaham, John Williams, and the BSO have recorded Williams's TreeSong, Violin Concerto, and music from the score of Schindlers List for future release by Deutsche Grammophon. —Robert Kirzinger

An important recent addition to the Strauss bibliography is Richard Strauss: Man, Musician, Enigma (Cambridge University Press); this is a new biography by Michael Kennedy, who previously authored an impressive volume on the composer's life and works for the Master Musicians series (Schirmer), and whose Strauss article in The New Grove Dictionary of Music and Musicians was reprinted in The New Grove Turn of the Century Masters: Jandcek, Mahler, Strauss, Sibelius (Norton paperback). Two other recent additions to the Strauss literature are Richard Strauss by Tim Ashley, in the well- illustrated series "20th-century Composers" (Phaidon paperback) and The life of Rich- ard Strauss by Bryan Gilliam, in the series "Musical lives" (Cambridge paperback; among the other composers included in this series are Berlioz, Beethoven, Debussy, Ives, Mahler, Verdi, and Webern). Gilliam also wrote the article on Strauss in the brand new second edition (2001) of The New Grove. The biggest biography of Richard Strauss is still Norman Del Mar's three-volume work, which gives equal space to the composer's life and music (Cornell University paperback); Don Quixote receives detailed consideration in Volume I. Yo-Yo Ma has recorded Don Quixote with Seiji Ozawa and the Boston Symphony Orchestra (Sony Classical). Noteworthy recordings also include Rudolf Kempe's with cellist Paul Tortelier and the Dresden State Orchestra (EMI), George Szell's with Pierre Fournier and the Cleveland Orchestra (Sony "Masterworks Heritage"), Mstislav Rostropovich's with Herbert von Karajan and the Berlin Philharmonic (EMI), and Fritz Reiner's with Antonio Janigro and the Chicago Symphony Orchestra (RCA "Living Stereo"). Strauss's own recording, from 1933 with the Berlin Staatskapelle and cellist Enrico Mainardi, has appeared on- a number of CD labels, including Deutsche Gram- mophon and, more recently, "The 78's." The conductor Clemens Krauss, who worked closely with Strauss and led the premieres of several of his operas, recorded many of the tone poems for Decca with the Vienna Philharmonic in the 1950s; his 1953 recording of Don Quixote with cellist Pierre Fournier has been reissued recently on compact disc (Testament, with Till Eulenspiegel and Don Juan). Arturo Toscanini's NBC Sym- phony recording with cellist Frank Miller is drawn from a 1953 radio broadcast (RCA Victor Gold Seal, with Death and Transfiguration). An earlier, 1938 Toscanini/NBC Symphony broadcast with cellist Emanuel Feuermann is also available (Music & Arts). —Marc Mandel

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ontact PREVIEWS® at (800) 548-5003 at: Visit Our Web Site www.hunneman.com 1 & - 'JRSSSi, Yo-Yo Ma Whether performing a new concerto, revisiting a familiar work from the cello repertoire, coming together with colleagues for chamber music, reaching out to young audiences and student musicians, or exploring cultures and musical forms outside the Western classical tradition, Yo-Yo Ma seeks connections that stimulate the imagination. Mr. Ma maintains a balance between his engagements as soloist with orchestras throughout the world and his recital and chamber music activities. One of his goals is to understand and demonstrate how music serves as a means of communication across a range of cultures throughout the world. Taking this interest further, Mr. Ma recently established the Silk Road Project to promote the study of the cultural, artistic, and intellectual traditions along the ancient Silk Road trade route, which extended from east- ernmost Asia to Europe (including such regions as India, Tibet, Persia, and Greece). By examining the ebb and flow of ideas throughout this vast area, the Project seeks to illumi- nate the heritages of the Silk Road countries and identify the voices that represent these traditions today. Mr. Ma recently completed another multi-year undertaking with his re- exploration of J.S. Bach's Suites for unaccompanied cello. The elements of that project included concert performances of the cycle in numerous cities, a new recording of the works, and a series of six films—one for each suite—under the title "Inspired by Bach," with each film using Bach's music as the starting point for new collaborative works and depicting the creative process that produced the interpretations of Mr. Ma and his fellow artists, among them choreographer Mark Morris, Kabuki artist Tamasaburo, ice dancers Jayne Torvill and Chris-

Boston Symphony Orchestra concertmaster Malcolm Lowe performs on a Stradivarius violin loaned to the orchestra by Lisa, Nicole, and Wanda Reindorf in memory of their brother, Mark Reindorf.

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Tanglewood BOSTON THE BSO ONLINE

Boston Symphony and Boston Pops fans with access to the Internet can visit the orchestra's official home page (http://Avww.bso.org). The BSO web site not only provides up-to-the-

minute information about all of the orchestra's activities, but also allows you to buy tickets to BSO and Pops concerts online. In addition to program listings and ticket prices, the web site offers a wide range of information on other BSO activities, biographies of BSO musicians and guest artists, current press releases, historical facts and figures, helpful telephone numbers, and information on auditions and job openings. A highlight of the site is a virtual- reality tour of the orchestra's home, Symphony Hall. Since the BSO web site is updated on a regular basis, we invite you to check in frequently.

<--" topher Dean, and garden designer Julie Moir Messervy. Mr. Ma is an exclusive Sony Clas- sical artist; his discography of nearly fifty albums (including thirteen Grammy winners) reflects his wide-ranging interests. Besides the standard concerto repertoire, Mr. Ma has recorded many of the numerous works that he has commissioned or premiered. He has also made several successful recordings that defy categorization, among them "Hush" with Bob- by McFerrin, "Appalachia Waltz" with Mark O'Connor and Edgar Meyer, and "Piazzolla: Soul of the Tango." Mr. Ma's most recent Sony Classical releases include "Simply Baroque," featuring works of Bach and Boccherini, and "Solo," an album of unaccompanied works that serves as a prelude to the Silk Road Project. Yo-Yo Ma is strongly committed to educational programs that not only bring young audiences into contact with music but also allow them to participate in its creation. While touring, he takes time whenever possible to conduct master classes as well as more informal programs for students—musicians and non- musicians alike. The summer of 1999 saw the realization of a special goal when, with conductor Daniel Barenboim, he worked with a specially assembled Middle Eastern Youth Or- chestra uniting young musicians from throughout that region. Yo-Yo Ma was born in 1955 to Chinese parents living in Paris. He began studying the cello with his father at four and soon came with his family to New York. His principal cello teacher was Leonard Rose at the Juilliard School. He later sought out a traditional liberal arts education to expand upon his conservatory training, graduating from Harvard University in 1976. He plays two instruments, a 1733 Montagnana cello from Venice and the 1712 Davidoff Stradivarius. Mr. Ma has appeared frequently with Seiji Ozawa and the Boston Symphony Orchestra in Boston, at Tanglewood, and on tour since his February 1983 subscription series debut.

Steven Ansell

Steven Ansell joined the Boston Symphony Orchestra as its principal violist in September 1996, having already appeared with the orchestra in Symphony Hall as guest principal viola. A native of Seattle, he also remains a member of the acclaimed Muir String Quartet, which he co-founded twenty years ago and with which he has toured extensively throughout the world. Mr. Ansell is a gradu- ate of the Curtis Institute of Music, where he studied with Michael Tree and Karen Tuttle; he also holds an honorary doctorate from Rhode Island College. Other teachers included Vilem Sokol, Raphael Hillyer, and Walter Trampler. Mr. Ansell was named professor of viola at the University of Houston at twenty-one and became assistant principal viola of the Pittsburgh Symphony Orchestra under Andre Previn at twenty-three. As a recording artist he has received two Grand Prix du Disque awards and a Gramophone Magazine award for Best Chamber Music Recording of the Year. He has appeared on PBS's "In Performance at the White House" and has participated in the Tanglewood, Schleswig-Holstein, Marlboro, Blossom, Newport, Spoleto, and Deer Valley festivals. The recipient of an honorary doctorate from Rhode Island College, Mr. Ansell currently teaches at the Boston University School for the Arts. As principal viola of the Boston Symphony Orchestra, he is also a member of the Boston Symphony Chamber Players.

47 Symphony Hall Centennial Season 2000-2001 BSOvations

The support of the corporate sponsors of the Boston Symphony Orchestra reflects

the increasingly important partnership between business and the arts. The BSO is honored to be associated with these companies and gratefully acknowledges their contributions. These corporations have sponsored concerts and activities of the Boston Symphony Orchestra between September 1, 1999, and August 31, 2000. BSO corporate sponsors of $50,000 or more are listed below by contribution level. For more information, contact Patricia Kramer, Associate Director, Corporate Programs, at (617) 638-9475.

NEC has proudly supported the Boston Symphony Orchestra's tours throughout Asia, Europe, and North and South America since 1986. No matter where they perform, the Boston Symphony Orchestra musicians, together with Maestro Ozawa, impress audiences with their brilliant performances, and have captured the hearts

of music lovers all over the world.

Koji Nishigaki

President, NEC Corporation

2 The Boston Symphony Orchestra is EMC a true New England treasure, and the talent of its musicians should where information lives be experienced by everyone. EMC Corporation is pleased to have a part in bringing the magic of the BSO to young people and their families in Boston and throughout the state. We hope these events will instill in us

Michael C. Ruettgers an interest and a love of music and remind us all of the rich Executive Chairman artistic and cultural diversity that makes Massachusetts a EMC Corporation great place to live and do business.

WCVB-TVr|3 Now in our 25th year of partnership |b d s t a n P^j w j t h t h e Boston Symphony Orches- *—^ tra, WCVB-TV Channel 5 is pleased to celebrate and support one of the world's most distinguished music organizations and its historic halls. Our collaboration features stirring performances as well as stories about the orchestra's important contributions to the community in televised programs such as "POPS! Goes the Fourth," "Holiday Paul La Camera at Pops" and "Salute to Symphony." WCVB proudly shares President one of our city's premier treasures with viewers in New Eng- WCVB-TV Channel 5 land and across the country, and looks forward to the next quarter-century of partnership in great music.

affse

''•>- V * :•*; tfG Kkr^a '•>*:•. BSOvations (continued)

Four Seasons Hotel Boston has been very proud to support the Four Seasons Hotel Boston Symphony Orchestra for over ten years. The Boston Sym- phony has established a tradition for presenting world class music while simultaneously bringing the magic of music to our city's children. The Boston Symphony Orchestra truly is the cornerstone of the rich cul- Robin A. Brown tural life we enjoy. Four Seasons proudly acknowledges the General Manager impact the Boston Symphony Orchestra has had in enhanc- Four Seasons Hotel ing the city, and we look forward to continuing our partnership in the years to come.

AT&T congratulates the BSO on the /\|JR|| centennial anniversary of Symphony Hall—an event that highlights a century of outstanding musical performances by one of the world's premier arts organizations. AT&T is pleased to continue its long tradition of support for the BSO by extending the Language of the 20th Century concert series for a fourth season. This series celebrates the land- Esther Silver-Parker mark compositions, as well as new works, commissioned President and given their world or U.S. premieres by the BSO in AT&T Foundation Symphony Hall since the middle of this past century.

Charles River Broadcasting has CLASSICAL proudly been involved with the Boston Symphony Orches- 102.5 WCRB tra for over 40 years. Our flagship station, BOSTON WCRB 102.5, broadcasts BSO live performances every Saturday night to over a half million people. We are pleased to be able to bring the performances of our world class orchestra into the homes of millions of music lovers, and we look forward to doing so for years to William W. Campbell come. CEO Charles River Broadcasting

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50 mial Season 2000-2001

Business Leadership Association

The support provided by members of the Business Leadership Association enables the Boston Symphony Orchestra to keep ticket prices at accessible levels, to present free concerts to the Boston community, and to support education and outreach programs. The BSO gratefully acknowledges the following companies for their generous annual Corporate Programs support, including gifts- in-kind.

This list recognizes cumulative contributions of $2,000 or more made between

September 1, 1999, and August 31, 2000.

For more information, contact Michael Newton, Director of Corporate Pro- grams, at (617) 638-9279.

BEETHOVEN SOCiETY-$500,000 and above

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52 wigUibwmaausmawEmam*9m0 Business Leadership Association (continued)

CONDUCTOR'S CIRCLE (continued)

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53 Apres Everything

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Business Leadership Association (continued)

LnJ 1

PRINCIPAL PLAYER-$10,000 to $14,999

Accenture Goldman, Sachs & Co. PTC William D. Green Daniel Jick C. Richardson Harrison Allmerica Financial HPSC, Inc. Palmer & Dodge LLP David Portney John W. Everets Michael R. Brown, Esquire Analog Devices, Inc. Hilb, Rogal and Hamilton Ray Stata Insurance PerkinElmer, Inc. Gregory L. Aon Risk Services, Inc. of Paul Bertrand Summe Massachusetts Hill, Holliday, Connors, The Pioneer Group, Inc. Michael E. Toner Cosmopulos, Inc. John F. Cogan Arnold Communications, John M. Connors, Jr. The Red Lion Inn Inc. Holland Mark Edmund Nancy Fitzpatrick Ed Eskandarian Ingalls Robertson Stephens Boston Acoustics, Inc. Richard C. Garrison A. Christopher Bulger Andy Kotsatos John F. Farrell & Schnader Harrison The Boston Consulting Associates Goldstein Group John F. Farrell, Jr. & Manello PC

Jonathan L. Isaacs Kessler Financial Services, Richard J. Snyder Boston Scientific L.P. Sheraton Boston Hotel Corporation Howard J. Kessler Larry Trainer Lawrence Best Lend Lease Real Estate Signal Technology Breakaway Solutions Investments, Inc. Corporation Gordon Brooks Dana J. Harrell George Lombard Calico Commerce Marsh USA Inc. The Studley Press Inc. Gary Halloran Michael P. Golden Suzanne K. Salinetti Citizens Bank Mellon New England TA Associates Realty Joanne Jaxtimer Michael A. Ruane Thomas J. Hollister Copley Place Meredith & Grew, Inc. Taco, Inc.

Paul C. Grant Thomas J. Hynes, Jr. John Hazen White, Sr. Eastern Enterprises/Boston New England Business William Gallagher Gas Company Service, Inc. Associates

/. Atwood Ives/Chester R. Robert J. Murray Philip Edmundson Messer New England Financial Winston Flowers Gadsby & Hannah LLP James M. Benson David Winston Paul E. Clifford patron-$5,ooo to $9,999

The Aaron Foundation Boston Red Sox/Yawkey Charles River Laboratories, Accenture Foundation II International Adesa Boston Boston Showcase Company Chelsea Industries, Inc. Advanstar, Inc. The Bostonian Group Clair Motors Advent International Corp. Bowne of Boston Clough Capital Partners LP Alles Corporation Bull HN Information Cypress Capital Beggs &: Cobb Corporation Systems Management Boston Marriott Copley Cabot Corporation Dell Computer Corporation Place Carruth Capital, LLC Dia-Com Corporation

55 Sensational savings on EnjoyThe the finest imported luxury linens and borne furnishings. SymphonyAnd You'll GetA Parkinglicket

Make dinner at Boodle's part of your

night out at the Symphony. We're offering our dinner customers special park-

ing privileges in our private garage for just $5 self-parking and Free Symphony Express Shuttle Service Tuesday and Thursday. At dinner, just show us your Symphony tickets and we'll arrange ANICHINI for your $5 self-parking, take you to Symphony Hall after your meal and s return you to your car after the perform-

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I; i 56 Business Leadership Association (continued)

PATRON-$5,000 to $9,999 (continued)

Earth Tech Longwood Partners SG Cowen Securities East Asia Ventures LLC ML Strategies, LLC Corporation Edwards & Angell, LLP MR Property Management SLI, Inc. Eze Castle Software, Inc. Magellan Holdings, Inc. Safety Insurance Company Fidelity Capital Markets Maxwell Shoe Company Seaport Hotel & World First Security Services Inc. Trade Center Corporation Medical Information State Street Development The Flatley Company Technology, Inc. Management Corp. The Goldman Group Meditrust State Street Global Advisors Gordon Brothers Group Millipore Corporation The Stop & Shop Graphics Marketing Services The NASDAQ-AMEX Supermarket Company H. George Caspari, Inc. Market Group TAC Worldwide Companies Hale and Dorr LLP NORTEL NETWORKS Towers Perrin The Halleran Company Natural Microsystems Tucker Anthony, Inc. Heritage Group LLC Corporation Twin Rivers Technologies Hill, Holliday Relationship New England Patriots Ty-Wood/Century Marketing Nixon Peabody LLP Manufacturing Co., Inc. Hines Nutter, McClennen & Fish, United Liquors, Ltd. Hurley Wire and Cable LLP Verizon Information International Data Group The O'Brien Group, Inc. Services Ionics, Incorporated OSRAM SYLVANIA Vitale, Caturano 6c J.N. Phillips Glass Co., Inc. Perry Capital Company, P.C. JSA Partners, Inc. Philip Morris Management WP. Stewart 6t Co., Ltd. Jofran, Inc. Corp. Watson Wyatt Worldwide John M. Corcoran & Co. Provant, Inc. Westfield Capital Kaufman &c Company Quick & Reilly Inc./Fleet Management Corporation Securities Inc. Kruger Inc. The Westin Copley Place Services, Inc. Boston The Lehigh Press, Inc. R&D Lexington Insurance Raytheon Company William M. Mercer, Inc. Company Woburn Foreign Motors fellow-$3,ooo to $4,999

The Abbey Group Credit Suisse First Boston George H. Dean Co. Alkermes, Inc. Corporation Global Petroleum Bank of Tokyo-Mitsubishi Cummings Properties, LLC Corporation Capital Cushman & Wakefield, Inc. Harte Carucci & Driscoll, Beacon Capital Partners Delta Dental Plan P.C. Blake and Blake Design Mark Industries Harvey Industries, Inc. Genealogists Designwise Helix Technology CB Richard Ellis/Whittier Di Pesa 6c Company, CPAs Corporation Partners Diebold, Incorporated International Planning Chubb Group of Insurance The E.B. Horn Co. Group Companies Fitz-Inn Parking Systems & J. A. Webster, Inc. Coca-Cola Bottling Co. of Jacob Wirth Co. J.D.P. Company New England FoodMaster Supermarkets Johnson O'Hare Company Copernicus Marketing Inc. Jones Lang LaSalle Consulting Friedl Enterprises, Inc. Americas, Inc.

57 SHI '.:.!:<-. ,.v-'= v/.-v

Life care For rates and living information on retirement advertising in the at its finest! Boston Symphony, Boston Pops, and =1=1=1=1=1=1=1=1= ill Tanglewood program books BROOKHUWEN please contact: AT LEXINGTON STEVE GANAK AD REPS Lexington, MA 02421 >^SX ^V (781)863-9660 |fegip 1=f (617) 542-6913, in Boston. (800)283-1114 ^SP' JbndL

58 Business Leadership Association (continued)

FELLOW-$3,000 to $4,999 (continued)

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59 NEXT PROGRAM. . .

Thursday, March 1, at 8 Pre- Concert Talks Friday, March 2, at 1:30 by Harlow Robinson

Saturday, March 3, at 8

Tuesday, March 6, at 8

DAVID ROBERTSON conducting

ADAMS Naive and Sentimental Music

I. Naive and Sentimental Music

II. Mother of the Man

III. Chain to the Rhythm

INTERMISSION

PROKOFIEV Violin Concerto No. 1 in D, Opus 19 Andantino Scherzo: Vivacissimo Moderato — Allegro moderato CHO-LIANG LIN

JANACEK Sinfonietta

Allegretto — Allegro — Maestoso Andante — Allegretto Moderato Allegretto Andante con moto

The acclaimed young American conductor David Robertson, who recently became music director of the Orchestre National de Lyon, makes his Boston Symphony debut next week with an impressively varied program. Serge Koussevitzky with then BSO concertmaster Richard Burgin gave the American premiere of Proko- fiev's First Violin Concerto here in April 1925. Like Prokofiev's first three piano concertos, the Violin Concerto is by turns wonderfully lyrical and energetically virtuosic. Czech composer Leos Janacek's Sinfonietta for large orchestra was one of several works completed in the composer's last decade that have come to be viewed as masterworks. John Adams is one of our country's most significant composers, the creator of the operas Nixon in China and The Death of Klinghoffer, among other works. His ambitious three-movement Naive and Sentimental Music was premiered by the Los Angeles Philharmonic in 1999.

Boston Symphony Orchestra concerts are supported in part by a grant from the Boston Cultural Council, a municipal agency supported by the Massachusetts Cultural Council, a state agency.

60 COMING CONCERTS . . .

PRE-CONCERT TALKS: Note that this season the BSO offers pre-performance talks in Symphony Hall prior to all BSO concerts and Open Rehearsals. Free to all ticket holders, these begin at 7 p.m. prior to evening concerts, 12:15 p.m. prior to afternoon concerts, and one hour before the start of each Open Rehearsal.

Thursday 'D'—March 1, 8-10:10 Tuesday 'C—March 20, 8-10:05 Friday 'A'—March 2, 1:30-3:40 BERNARD HAITINK conducting Saturday 'A'—March 3, 8-10:10 STRAVINSKY Suite from Pulcinella Tuesday 'B'—March 6, 8-10:10 o MARTINU Fantaisies symphoniques DAVID ROBERTSON conducting (Symphony No. 6) CHO-LIANG LIN, violin DVORAK Symphony No. 8 ADAMS Naive and Sentimental Music Thursday, March 22, at 10:30 a.m. PROKOFIEV Violin Concerto No. 1 (Open Rehearsal) JANACEK Sinfonietta Thursday 'C—March 22, 8-9:45 Friday 'A—March 23, 1:30-3:15 Thursday 'A—March 8, 8-10 Saturday 'B'—March 24, 8-9:45 Friday 4 March 1:30-3:30 B'— 9, BERNARD HAITINK conducting Saturday 'A—March 10, 8-10 TANGLEWOOD FESTIVAL CHORUS, BERNARD HAITINK conducting JOHN OLIVER, conductor ZOON, flute JACQUES STRAVINSKY Symphony of Psalms STRAVINSKY Suite from Pulcinella RAVEL Daphnis et Chloe BERNSTEIN Halil, Nocturne for flute (complete) and orchestra

BRAHMS Symphony No. 2 Wednesday, March 28, at 7:30 p.m. (Open Rehearsal) Friday Evening—March 16, 8-10:10 Thursday 'A—March 29, 8-10:05 Saturday 'B'—March 17, 8-10:10 Friday 'B'—March 30, 1:30-3:35 Saturday 'A—March 31, 8-10:05 BERNARD HAITINK conducting FRANK PETER ZIMMERMANN, violin INGO METZMACHER conducting o JOSHUA BELL, violin MARTINU Fantaisies symphoniques (Symphony No. 6) WEBER Overture to Oberon MOZART Violin Concerto No. 4 MENDELSSOHN Violin Concerto in D, K.218 HENZE Symphony No. 8 DVORAK Symphony No. 8 STRAUSS Don Juan

FUNDING PROVIDED IN PART BY Programs and artists subject to change.

Massachusetts Cultural Council

Single tickets for all Boston Symphony Orchestra concerts throughout the season are available at the Symphony Hall box office, online at www.bso.org, or by calling "SymphonyCharge" at (617) 266-1200, Monday through Saturday from 10 a.m. until 6 p.m., to charge tickets instantly on a major credit card, or to make a reservation and then send payment by check. Outside the 617 area code, call 1-800-266-1200. Please note that there is a $3.25 handling fee for each ticket ordered by phone or over the internet.

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iV : ''.'.. •"• -* "^.- -' '.:•'.-- ,-.'.. " •:• ...,..•..'••••-•,.•.'•.. nmnBSb@ s»i SYMPHONY HALL INFORMATION

FOR SYMPHONY HALL CONCERT AND TICKET INFORMATION, call (617) 266-1492. For Boston Symphony concert program information, call "C-O-N-C-E-R-T" (266-2378). FOR INFORMATION ON SPECIAL CENTENNIAL EVENTS throughout the community and at Symphony Hall, please call (617) 638-9424.

THE BOSTON SYMPHONY performs ten months a year, in Symphony Hall and at Tangle- wood. For information about any of the orchestra's activities, please call Symphony Hall, or write the Boston Symphony Orchestra, Symphony Hall, Boston, MA 02115.

THE BSO'S WEB SITE (www.bso.org) provides information on all of the orchestra's activities at Symphony Hall and at Tanglewood, and is updated regularly. In addition, tickets for BSO concerts can be purchased online through a secure credit card transaction.

THE EUNICE S. AND JULIAN COHEN WING, adjacent to Symphony Hall on Huntington Avenue, may be entered by the Symphony Hall West Entrance on Huntington Avenue.

IN THE EVENT OF A BUILDING EMERGENCY, patrons will be notified by an announce- ment from the stage. Should the building need to be evacuated, please exit via the nearest door, or according to instructions.

FOR SYMPHONY HALL RENTAL INFORMATION, call (617) 638-9240, or write the Director of Event Services, Symphony Hall, Boston, MA 02115.

THE BOX OFFICE is open from 10 a.m. until 6 p.m. Monday through Saturday; on concert evenings it remains open through intermission for BSO events or just past starting time for other events. In addition, the box office opens Sunday at 1 p.m. when there is a concert that afternoon or evening. Single tickets for all Boston Symphony subscription concerts are available at the box office. For most outside events at Symphony Hall, tickets are available three weeks before the concert at the box office or through SymphonyCharge.

TO PURCHASE BSO TICKETS: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, or to make a reservation and then send payment by check, call "Symphony- Charge" at (617) 266-1200, Monday through Saturday from 10 a.m. until 6 p.m. Outside the 617 area code, phone 1-888-266-1200. As noted above, tickets can also be purchased online. There is a handling fee of $3.25 for each ticket ordered by phone or over the internet.

GROUP SALES: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345.

FOR PATRONS WITH DISABILITIES, an access service center, accessible restrooms, and elevators are available inside the Cohen Wing entrance to Symphony Hall on Huntington Avenue. For more information, call VOICE (617) 266-1200 or TTD/TTY (617) 638-9289.

LATECOMERS will be seated by the patron service staff during the first convenient pause in the program. Those who wish to leave before the end of the concert are asked to do so between program pieces in order not to disturb other patrons.

IN CONSIDERATION OF OUR PATRONS AND ARTISTS, children four years old or young- er will not be admitted to Boston Symphony Orchestra concerts.

TICKET RESALE: If you are unable to attend a Boston Symphony concert for which you hold a subscription ticket, you may make your ticket available for resale by calling (617) 266-1492 during business hours, or (617) 638-9426 up to thirty minutes before the concert. This helps bring needed revenue to the orchestra and makes your seat available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution.

RUSH SEATS: There are a limited number of Rush Seats available for Boston Symphony subscription concerts Tuesday and Thursday evenings, and Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $8 each, one to a customer, at the Cohen Wing entrance on Huntington Avenue on Fridays as of 9 a.m. and Tuesdays and Thursdays as of 5 p.m. Please note that there are no Rush Tickets available on Friday or Saturday evenings.

63 PLEASE NOTE THAT SMOKING IS NOT PERMITTED ANYWHERE IN SYMPHONY HALL.

CAMERA AND RECORDING EQUIPMENT may not be brought into Symphony Hall during concerts.

LOST AND FOUND is located at the security desk at the stage door to Symphony Hall on St. Stephen Street.

FIRST AID FACILITIES for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the switchboard near the Massachu- setts Avenue entrance.

PARKING: The Prudential Center Garage offers discounted parking to any BSO patron with a ticket stub for evening performances. There are also two paid parking garages on Westland Avenue near Symphony Hall. Limited street parking is available. As a special benefit, guaran- teed pre-paid parking near Symphony Hall is available to subscribers who attend evening concerts. For more information, call the Subscription Office at (617) 266-7575.

ELEVATORS are located outside the Hatch and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing.

LADIES' ROOMS are located on the orchestra level, audience-left, at the stage end of the hall; on the first balcony, also audience-left, near the coatroom; and in the Cohen Wing.

MEN'S ROOMS are located on the orchestra level, audience-right, outside the Hatch Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing.

COATROOMS are located on the orchestra and first-balcony levels, audience-left, outside the Hatch and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not re- sponsible for personal apparel or other property of patrons.

LOUNGES AND BAR SERVICE: There are two lounges in Symphony Hall. The Hatch Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time.

BOSTON SYMPHONY BROADCASTS: Friday-afternoon concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by WGBH 89.7 FM. Saturday-evening concerts are broadcast live by WCRB 102.5 FM.

BSO FRIENDS: The Friends are donors to the Boston Symphony Orchestra Annual Fund. Friends receive BSO, the orchestra's newsletter, as well as priority ticket information and other benefits depending on their level of giving. For information, please call the Develop- ment Office at Symphony Hall weekdays between 9 and 5, (617) 638-9276. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to the Development Office, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files.

BUSINESS FOR BSO: The BSO's Business Leadership Association program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra through a variety of original and exciting programs, among them "Presidents at Pops," "A Company Christmas at Pops," and special-event underwriting. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, and priority ticket service. For further information, please call the Corporate Programs Office at (617) 638-9270.

THE SYMPHONY SHOP is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Tuesday through Friday from 11 a.m. until 4 p.m., Saturday from noon until 6 p.m., and from one hour before each concert through intermission. The Symphony Shop features exclusive BSO merchandise, including the Symphony Lap Robe, calendars, coffee mugs, an expanded line of BSO apparel and recordings, and, this year, unique gift items inspired by the Symphony Hall Centennial Season. The Shop also carries children's books and musical-motif gift items. A selection of Symphony Shop merchandise is also available during concert hours outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638- 9383.

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